More Dragons……

Back to fighting dragons.  My goal is to create enough isolation from the background to create a clean image with strong graphics and no textural distractions.

This particular dragonfly was a wonderful green that very much blended with the back lit green blades. I composed to maximize the separation of the grasses and to make myself as parallel to the dragonfly as possible.

(c) 2014 Paul Grecian

(c) 2014 Paul Grecian


Wildlife Photography in a Small Way

I consider “wildlife” to be any plant or animal that lives its natural life in the wild. It’s interesting how the term seems so often to only refer to mammals (and larger ones at that). On a resent outing to photograph local native flowers and other wildlife, I had the opportunity to work with a number of dragonflies. These really are magnificent insects and I think they are also beautiful.

Dragonflies tend to be difficult subjects because they are quick to fly off when approached, and often choose postures that are not the most interesting (e.g., facing away from the photographer, choosing perches that are hard to isolate, or just too far away). What helps to make for successful imagery though is that dragonflies seem to be habitual users of their habitat. I have often seen them fly off of a perch and then come back to land on it in the exact same posture. This bit of predictability allows for pre-visualization of an image so that when the dragonfly returns, the image may be made.

I’ve rarely been able to work with a dragonfly that chose a perching posture that looked right at me, so this was pretty special. I focused carefully on the eyes which can be done quite exactly because of all of the eye facets, and then concentrated on fine-tuning the composition. I used a Nikon D300 body and a Tamron 180mm macro lens steadied on a Benro tripod with a Really Right Stuff ball head. The 180mmm gave me enough working space and the ability to isolate my subject against a smooth background.


(C)2014 Paul Grecian

(C)2014 Paul Grecian


Sometimes it is black and white……

My “formal” education in photography started in High School where I took my first class in black & white image making. It was a basic course but stoked the flames. In college, I continued my exploration of black & white photography while majoring in Psycho-Biology. In all, I had 4 semesters of photography in college which allowed me to both learn and experiment with the medium.

After my undergraduate career, I moved to color slide film. With nature as my primary theme, I learned to deal with the added complexity color can bring to an image and the unforgiving attributes of slide film. But, color excited me, most editors wanted color (specifically slide film), and I understood the importance of color both biologically and emotionally.

Within the last couple years however, I have found myself gravitating back to black & white work for certain scenes or feelings where color either detracts or is unimportant to the image. These images have a somewhat different mood than even my more monochromatic color images. I have now dedicated one of my printers to just black & white work and am finding myself thinking in both color and B&W more often.

The image below is a good example of where I feel B&W is especially effective. It allows for the  image to be mostly about  texture and geometry. There is no color aspect to draw you to one part of the image over the other.  The bird is for me the visual center and being the only animal in the image, the visual subject. In a color image, I think it would be lost (at least in this image).

(c) Paul Grecian

(c) Paul Grecian


Simplicity Rules

For my current two-person show at Artists’ Gallery in Lambertville NJ, I had a new image which I titled A Ripple, A Blade of Grass. It is an image of grasses and their reflections in Jordan Pond. I converted the original color image into a black and white and then applied a sepia tone. The print is on Epson Enhanced Matte paper to emphasize the softness of the light. I was working on a rainy day, very overcast with an Olympus E5 and Olympus 50-200mm lens (both totally weather proof for these kind of conditions).

The framed version (print #1) sold to a couple who were drawn to the Zen-like feeling of the image. I appreciated their remarks to me so much that I want to share them.

We were both really moved by the piece and are excited to display it in our home.  It’s ironic when I think about how I felt when I first caught a glimpse of it – I felt so excited and elated, which might seem a little silly given the Zen like nature of the image you’ve captured.  But I’ve been studying a lot about mindfulness and being present in the moment, and your work was the first piece I’ve seen that, to me, perfectly represents that state of being.  I love the way you’ve edited it down to the barest essentials, and yet it still feels so powerful.  I could gush more about it, but I’ll save you from having to read a novel about how much I enjoy the piece!”



Maine on My Mind

This past Saturday (April 12) was the reception for my two-person show with Michael Schweigart at Artists’ Gallery in Lambertville, NJ. I was pleased with the response to my work for this show as it represents a different side of my style. The images I included were more subdued and even monochromatic. Several pieces are actually black & white with a sepia toning as the only color. In some ways the work is more textual and minimalist than other work I’ve shown at the gallery. It’s not so much a departure from my usual offerings as much as an emphasis on this aspect of my work.


Two collectors in front of my work at AG

Two collectors in front of my work at AG

There’s a Past to Every Image

Although anyone viewing my work today would gather that nature is the primary inspiration for my work, they wouldn’t likely discern that there was also a scientific background behind it. When speaking with patrons at the various shows I participate in, I often allude to my degree in Psychology/Biology. The formal education I received in college certainly informs my image making today. I understand that nothing in nature exists in isolation, that there is an interconnection between everything, and a long biological history to the landscape and it’s inhabitants.

These truths are represented in many ways in my work. I pay special attention to contexts, subject backgrounds, color interactions, behaviors, animal postures, and generally, the entire ecology of the scene. I can also however, totally isolate a subject from its natural context and really emphasize its purely sensual attributes. In fact in some ways, the very act of isolating a nature subject from it’s surroundings gives it a rather abstract feeling.

In addition to my college career, I spent 15 years working as a biologist in the information industry. In that professional role, I was working with the scientific literature in order to make it accessible to researchers around the world. In high school, I started working at the Academy of Natural Sciences (now part of Drexel University), in Philadelphia. There I worked with live animals, various fossil collections, and in the Malacology (shells) Department. I gained a special appreciation for the enormous variety of life that has, and still does inhabit the earth.

All of these experiences have shaped my thoughts and aesthetics when making an image. The process though is on going. Each new experience, each new bit of learning, each new person I meet, all impact me and the work I create.

It has been 30 years this year since I presented my senior thesis, but the influence of that time is still strong.

Yes, I really did a project on cannabalism

Yes, I really did a project on cannabalism


More Reds of Winter

I seem to be especially conscious of red this winter and more specifically, sources of red other than cardinals. In this case, the red is from wild rose hips (?). Encased in ice, these round dots of red created an amazing contrast to the otherwise monochromatic brush.

This is an image I made while the freezing rain was still falling and so I had to be conscious of the potential harm to gear. For this reason I opted to use an Olympus OM-D EM-5 camera with the Olympus 60mm macro lens. Both camera and lens are weather-proof according to Olympus, and I have come to believe it!



July 2014
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All images are copyright of Paul Grecian. No image may be linked to or downloaded without expressed written consent and rights authorization. Images are available for purchase for publication and in print form. Please contact me through for more information.

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