Photo of the Week: Mar. 24, 2011

HOW I GOT THE SHOT: The fleeting colors of spring – red, pink, purple, yellow, white, orange and even blue, if you look carefully – are merely a distraction from the real show. "Green is the color of spring," crooned Van Morrison, and later Kermit the frog. And it is, in fact, "not easy being green," because it is everywhere, overly familiar and dare I say, "boring?"

Fortunately, the ascent from Route 90 up to Belvoir, just south of Tiberias, offers a host of interesting views. In late winter, when this photo was taken, the hillsides are a scintillating emerald green, though the colors fade quickly as soon as the rains subside. This image is an abstraction of the larger area. Using a long telephoto lens to cut through some of the haze, I honed in on a small section of the rolling hill that featured odd bumps and gullies that accentuate the contrast in light and textures of the shrubs and grass. I also kept the camera angle level to the horizon in order to convey the steep slope of the hill.

Sometimes we have to fight our way through the familiarity of the visual landscape, through the things we see so frequently we begin not to notice them at all. But as the song says, "green can be cool and friendly, big like an ocean, or important like a mountain." We just have to stop and take it in.

Technical Data: Nikon D700, 70-200mm zoom lens at 135 mm, f8@ 1/800th sec., ISO 400.

Photo of the Week: Mar. 16, 2011

HOW I GOT THE SHOT: Purim is Israel's candy holiday, a day of frivolity underscored by obligations of recalling our miraculous history and giving gifts and charity. The gifts often include candies and baked goodies to sweeten the joy of this celebration. The candy vendors at Jerusalem's Machane Yehuda market use an ancient and not-so-subtle form of salesmanship: their product is eye-catching and mouth-watering, especially to the children who prod their parents to buy it.

This subject has a built-in appeal of diverse color and form, not to mention that it charms the child in all of us. I chose a wide angle lens to encompass as many of the different candies as possible. The only other choice I made was to compose the image so the candy bins move diagonally across the frame. This slight tilt gives the photo just what it needs to break up the monotony of seeing all the bins in similar shapes and sizes. Chag Purim Sameach!

Technical Data: Nikon D700, 20mm lens, f8@ 1/60th sec., ISO 800.

Photo of the Week: Mar. 10, 2011

HOW I GOT THE SHOT: The power of suggestion runs deep. With our local weatherman predicting a real winter storm this week, I had visions of white fields and ice-encrusted spring blooms. So as I hiked into an almond grove in the Ela Valley late one afternoon, my mind turned from the gloriously flowering branches to drifts of fallen blossoms that had accumulated on the ground in soft, pink and snow-white piles.

My students will confirm that I drum into their heads the idea of photographic opportunity, of picking up your camera and shooting when the best moments present themselves. Often, you may have another plan in mind, but the key is to remain open to something new which may unexpectedly reveal itself.

This week's image is a case in point. I had no idea what lay in waiting as I approached the grove. As the sunlight slowly slipped away, I lay down on the ground and snapped a few quick shots of blossoms blown against pruned branches and gathered amid clumps of grass. Unlike fall foliage, which decays on the tree before dropping, these blossoms fell to the ground while still in peak form. I used a close up lens (macro) to capture the color variations and textural detail in the petals. To paraphrase the saying, if you don't like the weather, go out and make some of your own.

Technical Data: Nikon D700, 28-105mm macro lens at 80mm, f8@ 1/60th sec., ISO 800.

Photo of the Week: Mar. 3, 2011

HOW I GOT THE SHOT: Soggy, foggy and groggy. That about sums up this photo op. I normally try to avoid exposing expensive electronic gear to even a single drop of potentially fatal moisture, but the holy, mountaintop city of Tzfat in Northern Israel runs on miracles, so I figured I was safe shooting outside in the late-evening drizzle. I grabbed my tripod, winter coat and a small towel and ventured out along the medieval, cobblestoned alleyways of Tzfat's old city.

Despite many signs that it has entered the modern era, the old city of Tzfat transports visitors back to the 17th century. I was looking for a shot that would somehow convey this feeling of having stepped into a time warp. I found it in the musk-yellow streetlights, whose color resembles the old-fashioned sepia-toned prints and adds to the sense of having entered antiquity.

What drew me to this spot, however, was the rain. Water has tremendous reflectivity. Any light source will bounce back at the camera in often magical displays of glitter and sparkle. In this image, a single street light casts its glow on the damp branches above, the street below and the sides of the stone buildings. I never let bad weather rain on my picture parade.

Technical Data: Nikon D700, 28-105mm lens at 38mm, f16@ 1.6 sec., ISO 800.

Photo of the Week: Feb. 23, 2011

"To the attentive eye, each moment of the year has its own beauty, and in the same field, it beholds, every hour, a picture which was never seen before and which shall never be seen again." - Ralph Waldo Emerson

HOW I GOT THE SHOT: Hard to disagree with the poet Emerson, especially since I beheld this field earlier in the week and found it was devoid of flowers. Now the only way back is via the pictures I shot four years ago. Still, it is a way back.

I discovered this field of anemones in Emek HaEla about one month after and 100 meters away from the photograph I featured two weeks ago. So much effort goes into scouting locations for good landscapes that I often return to places where I had earlier success, hoping to tap the treasure trove again. I am not always so fortunate.

This shot is an example of how to layer a scene with zones of depth that enrich the composition. While the area had great shooting potential in several directions, the photograph needed a strong foreground element to anchor the viewer and clarify what is seen in the distance. This cluster of flowers worked nicely and had the added attraction of the pair of pink-petalled anemone.

Using an extreme wide-angle lens (12mm) while standing upright, I pointed the camera slightly downward which had the effect of bending the foreground just a bit so that it pops out the frame. This is a delicate process, as too much distortion will give the photo an unnatural look.

Again I saw, again I heard;

The rolling river, the morning bird;—

Beauty through my senses stole,

I yielded myself to the perfect whole.

From Each and All by Ralph Waldo Emerson

Technical Data: Nikon D200, 12-24mm zoom at 12mm, f11@ 1/320 sec., ISO 400.

Photo of the Week: Feb. 16, 2011

HOW I GOT THE SHOT: The human mind has a great ability to conjure images, including things we've never actually seen. In photography, this technique is called previsualization and it is of great help at times when you have an idea floating around in your head but haven't quite found it in the field. By imagining certain images I want to create, I improve my chances of seeing them when I am out shooting.

In this week's photo, previsualization helped me in two distinct ways. The shot was taken as twilight merged with night. It was so dark where I stood above Achziv Beach on Israel's northern coast that I could barely make out the forms offshore that I had seen earlier in the day. Darkness prevented me from seeing the image, so I had to rely on my mind's eye. Likewise, my camera couldn't see well enough to lock on focus, so I switched to manual mode and turned the focus ring to infinity.

I waited until nightfall because I wanted a very long exposure to smooth out the tidal action and give the image a lustrous, more serene feel. I also knew from experience, and I could see in my mind, that the long exposure would whiten the moving water and boost the contrast between the rolling sea and the rock silhouettes, thus making a more dramatic image. Even when there is very little light, we are not limited to simply shooting in the dark.

Technical Data: Nikon D300, 28-105mm zoom at 32mm, f13@30 seconds, ISO 100.

Photo of the Week: Feb. 9, 2011

HOW I GOT THE SHOT: My passion for photography motivates me to invest a lot of energy chasing after new pictures. Yet photography can also be a very grounding practice because focused attention is critical to seeing important subtleties, especially in nature. It's hard sometimes to separate from the incessant inner urge to create, but in the process I've learned how light moves, seasons evolve and where to look for a rainbow. I've learned to slow down and smell the roses.

Or the anemones, as presented in this week's photo from the Ela Valley. Although I like to keep my weekly selections in sync with what's happening out in the field, this picture is a few weeks premature. Nevertheless, it is an excellent example of the compositional tool known as the leading line – in this case an "S" curve. The leading line pulls the viewer along a specific path before arriving at the photo's center of interest.

The small grouping of sunlit flowers in the lower left corner catches the viewer's eye and from there it's around the rock and off to the races, spiraling through the light into the depth of the photo. Springtime in Israel is almost upon us, the perfect time of year to wander into the forest in search of another field of dreams.

Technical Data: Nikon D200, 28-105mm zoom at 32mm, f11@1/200 sec., ISO 320.