Capilano Suspension Bridge and Jerusalem Chords Bridge were chosen out of my Bridge Portfolio. In the November 2011 Edition Year Ends Gallery of Lenswork Magazine.
Special thanks to Gary Ratson for helping me put in writing my feelings and passion for Bridges. It never ended up published so I thought I would add it here below for all those interested:
The motivation in producing my “Bridges’ portfolio, at essence, comes from my love for the beauty and harmony in nature. Just as my attraction to engineering came from a deep appreciation of solving human problems with natural designs, capturing engineering elegance on film completes a cycle for this passion for ordinary miracles. Only in retrospect could I realize my
initial interest in engineering came from this same devotion.
Of course, then, my path to this project was direct and purposeful as a means to depict engineering marvels that utilize nature’s wisdom. I am fascinated with how the efficiency and simplicity of the spider web or conch shell inspires technological design. It is truly awe inspiring when humans cleverly adapt what is already there.
The photographic precision is important in doing justice and giving voice to this creative genius. Like with any work of art, I try to
capture the attention of the viewer for a prolonged momentary ‘ah ha’ revelation of their own. Reflecting innate power and splendour for others to experience builds cultural appreciation for art, science, and the environment.
As all scientific discovery begins with the spark of original insight, my creative process is really a non-method methodology or quite rightly an effortless effort. Certain of what I love and want, I cannot be so arrogant to think I can just take it. Trusting all my experiences and learning, I attempt to surrender any linear thought, relax into the spaciousness of pure awareness, and like any artistic experience, letting it come by letting go.
Without pre-existing formula, I wait for a spontaneous feel or vision, a humble but certain atmosphere of rightness, of gratitude for the opportunity to eavesdrop on live art. Inevitably, I surprise myself only later upon reviewing the catch to find my ‘wow’ shot.
Oporto Bridges Win 1st Place for
Architecture: Bridges Pro Category
During my trip to Portugal this past April-May I spent 5 days in the city of Port (Portugal’s second largest city) which to my surprise was one of the more enchanting cities I have visited. Oporto (as it is pronounced by the locals) is situated in the north-western coast of Portugal and has a magnificent natural setting on the north bank of the River Douro, just a few miles inland from its opening into the Atlantic Ocean.
A total of six bridges are situated on a 10 km stretch of the river – I was in photography heaven! Not being a morning person, I managed somehow to miss the early morning light and opted for the sunsets rather than the sunrises. On my last morning in Port, my iphone rang at 6 am (thank you Ruth) so I was wide awake, the guilt of not getting up and out with the camera early didn’t let me sink back in to a sweet sleep.
Every time I wake up before the sunrise, tearing myself out of bed in the godforsaken hours of the morning, I tell myself, ‘I better get a great shot to make this worth while!’
When I reached the river I was amazed to find a blanket of fog captured in the valley of the river.
All I can say from this moment on is that I just went crazy with the camera, six bridges all looking so different and mysterious in the fog, which should I tackle first before the sun melts it all away? I guess I chose right with what I personally found to be most photogenic, white on white.
All I can say from here is that, yes, that early morning rise was very worth while!
Technical Details:
Just a tripod, there was no need for any ND filters or even major post processing. If Black and White photography is your thing, I can’t recommend any better conditions than a foggy day.
Agarve Wind Farms Win 3rd Place for
Architecture: Industrial Pro Category
Photographing wind farms was on my ‘To Do’ photography list, so when I planned my trip to Portugal I was happy to find out that wind farms are spotted all over the country on mountaintops.
Although I kept seeing them from the bus and train, I hadn’t rented a car and therefore thought that my wind farms would have to wait for another occasion. On the last stretch of my two weeks in Portugal, I headed down south to the Algarve region for some R & R, but laying on the beach I saw the clouds roll in and I just couldn’t let this opportunity pass. I packed my stuff off the beach and headed to the nearest car rental place and headed to the mountains.
In my mind I envisioned taking a daytime long exposure of these majestic creatures as fine art and using three different exposures:
The result you can see below:
Wind Farm #1
Wind Farm #1 is superimpose of two images: a daytime long exposure and a quick shutter for the rotor, catching the movement of the rotor (as I thought in exposure #3) just didn’t seem to come out as I envisioned since the clouds came out as a still shot too.
Technical info of Wind Farm #1 Image 1:
Daytime long exposure, Shutter speed of 94.8 seconds 1.3 minutes
Aperture F-11, at 18 mm (DX sensor)
I placed two ND filters, a 10 stop and a 3 stop for a total of 13 f-stops
Later in the ‘Digital Darkroom’ I converted the image to black and white.
Wind Farm #2 is just one shot with a semi long exposure, the first turbine’s rotor was spinning very slow for some reason so I managed to catch the movement of the rotor as well as the clouds with one shot.
Wind Farm #2
Technical info of Wind Farm #2:
Daytime long exposure, Shutter speed of 242 seconds 4 minutes
Aperture F-16, at 60 mm (DX sensor)
I placed two ND filters, a 10 stop and a 3 stop for a total of 13 f-stops
Later in the ‘Digital Darkroom’ I converted the image to black and white.
Me and Steve Mcurry published in the same book
what an honour!!!
