So not really, but still, is a female hummingbird not a superhero? Faster than a speeding…..well lots of things; able to to fly backwards, strong enough to migrate thousands of miles, fiercer than a barn cat.
I’ve been following the afternoon antics of a couple hummers that frequent our bee balm flowers. Since I’ve had time to observe these magnificent birds, I am also able to preset the exposure parameters, pre-visualize compositions, and set focusing to maximize success.
There’s something very magical about hummingbirds. They seem unreal. Working to create images of them and then doing so successfully, doesn’t change that feeling.
In this image I wanted to convey a strong sense of the magic of the hummingbird; her speed, her beauty, her agility.
Animals have always had symbolic meaning for people. Many cultures and individuals still consider the sighting of certain animals as highly significant events. One of the most cherished of sightings is of a bird that is thought to represent many of life’s best experiences – joy, love, peace, overcoming adversity, the fulfilling of dreams. What bird can signify so much all by itself? Well, its the amazing little hummingbird!
And no wonder, right? It’s incredible flight ability, it’s diminutive size, it’s great power and resilience to migrate enormous distances, all make for the things of myth and legend. It’s both magnificently delicate and fierce at the same time.
We have always had a few plants which attract hummingbirds to our farm. This year my wife Lin made sure we had Bee Balm as well. Beautiful red flowers are hard to resist, especially for the hummers doing their tour around the farm.
I read during afternoon coffee time on our front porch which puts me in view of the Bee Balm. I had established that the hummers visit the plant around that time. In addition to my coffee mug and Kindle, I’ll have my camera with a long telephoto lens attached. I prefocus, preset the exposure, and previsualize compositions. Hummingbirds are fast and don’t typically hang around for long. My last quick decisions have to happen on the fly (sorry), but the result was marvelous. I hope you like it too.
For a print of this image, go to my website HERE.
I am very much a morning person. In fact, I love the beginnings of things in general — the periods where the potential is the most exciting. Dewy mornings are my favorite. With sunlight refracting through the water drops and blasting in all directions, it can actually be a bit visually overwhelming. It really is exciting work. The water drops can be clinging to a leaf, a flower petal, or a spider web. In each case the form of the drop will be different, but equally gorgeous.
Getting in close to nature like this, exploring these very small landscapes, is an endless journey of esthetic pleasure. I make images that express the fulfillment I get from these unique experiences.
exploring these very small landscapes, is an endless journey of esthetic pleasurePaul Grecian
To make this type of image I prefer an Olympus Micro-Four-thirds camera with an Olympus 60mm F2.8 macro lens. Its small, light, and importantly, easy to maneuver without hitting parts of the plant or web I’m working with. I composed this image in order to have the large round light refractions behind the web create a visual harmony with the water drops.
When I first started exploring my vision through the medium of photography, it was the genre of macro-photography that drew me in. I really enjoyed the fact that I could explore the natural world an inch-and-a-half at a time. This ability was especially meaningful as I lived in the city without much natural area around me.
My interest in macro imagery continued through my college years where my photography coursework included two semesters of independent study. In both of these semesters my projects revolved around using close-up techniques. In graduate school, I was able to take a class on macro-photography specializing in flash usage. This gave me a unique skill to balance daylight and artificial light for very small subjects, an ability that can be crucial to the success of an image.
My preference with most macro images however is to use natural light. Reflected, direct, or refracted, I find natural light the most interesting and most esthetically pleasing.
In this image of a backlit grass with crab-spider, I was vey conscious of the way the light outlined everything, creating rim light. What I found especially exciting was the light refractions associated with the silk strand that the spider was producing. The light made the very thin strand visible and created a rainbow of colors. To achieve the angle and perspective necessary to make this image, I had to work hand-held – quite the challenge. Looks to me like a spider wielding a lightsaber, maybe this is a Jedi spider?
When making any image, I am consciously and also subconsciously aware of my surroundings and how they make me feel. This means that there are many forces at work which impact the way I make an image. All of the sensations I experience in the moment play a roll in how I represent my world visually. Spring is a rather overwhelming time of year. There is so much life bursting forward! There is so much color and song and new found warmth. It all becomes part of a highly sensual, highly emotive, and highly stimulating event.
This image was made in a garden in Colonial Williamsburg, a location where my wife and I exhibit our art during the spring. We use the trip as a way to connect with our fans in Virginia and to create new works about the joyfulness of the season of regeneration.
All of the sensations I experience in the moment play a roll in how I represent my world visually. Paul Grecian
For this image I was using a very odd lens not made for photography. It is actually a movie projector lens which I purchased from a Russian metalsmith in the Bronx who makes adapters for these types of “alternative” lenses. I incorporate the effect this lens allows me to create with my personal esthetic in order to create differently expressive images. I can see, and therefore control, the effect through the viewfinder which allows me to have a new experience while creating. That really is a main point to the art for me – new experiences.
I recently asked friends of mine to list questions they had about the artistic process. One of the questions asked was why do I work in my chosen medium and not another. What is it about the medium of photography that has kept me so engaged for over 40 years? The image that I have titled Red Wing is very much pertinent to the answer. For me, being able to create in the moment when my emotions are running highest is very important. I appreciate the rush I get when I observe something extraordinary. To most fully experience something remarkable, I need to engage with it in real time. I can achieve that engagement uniquely through the medium of Photography.
This image was made recently in a wooded section on our farm. It was a cloudy afternoon. I saw the flock through my studio window and almost just chose to observe. Then a rather desperate urge came upon me to engage. I’ve been working in a rather impulsive way recently, just grabbing gear and going. I knew which lens I wanted to use, which camera body to attach it to, and that time was fleeting. I also knew these birds would not like me approaching them. I began adjusting settings as I worked my way closer and when in position, my gut instinct took over.
This is a very significant image for me. It is an image that defines the kind of work I have come to make over the last five years, and especially within the last couple.
This image is part of my “100 Series” and will be limited to 100 prints in all sizes. Prints are already available at my gallery online – HERE.
It’s still winter, even though we hit 72F yesterday. In fact this whole winter has been crazy mild. We’ve had way above average temps, and very little snow — except in the form of geese! Several times in the last few weeks large flocks of these magnificent birds have dropped into the fields behind our farm. It has been such a wonderful display. Big, white birds flying in unison, sometimes against the dark hillside made for an exhilarating experience.
Over the last five years, most of my work has been done on our farm. The arrival of the Snow Geese has added a new element to my series done right here on our 7 1/2 acres. Although I have done several series on large flocks of blackbirds, the snow geese afforded me the opportunity to create an interesting contrast. I composed this piece to emphasize a strong yin and yang relationship — with white geese against the dark hillside balancing the dark trees against the light sky. It is important too that some of the white geese cross the dark trees which creates a unifying element in the image.
I am offering this image as a Limited Edition print as part of my “100” Series. Only 100 prints will be made across all sizes. Order it now on my website here.
One of the things I like about living in north-central Pennsylvania is our four distinct seasons. And while I don’t particularly like the coldest weather we get here, I do like the visuals of leafless trees and the landscape covered in snow. This type of scene elicits a mood within me that tends to be rather sentimental, nostalgic, or cozy. The cold air outdoors can be countered by a fresh cup of Pike Place coffee or hot chocolate (a bit of peppermint Schnapps helps too). Maybe a favorite blanket, a fireplace, a comfortable chair come to mind as well.
So it’s not really the landscape itself which has a mood, it’s our response to a scene which is projected onto the landscape that elicits our feelings. When I am creating images outside in the winter I am working mostly by gut instinct. A combination of conscious and subconscious responses to the visual environment effected by the feeling of cold, the sounds around me, maybe the smell of a distant fire. I cannot, of course, put all of these sensations into my image, but they impact the creative process.
When the images are brought into my studio and viewed on a computer screen away from the conditions in which they were made, I can evaluate them at a different level. Without all of the sensory stimuli which were associated with the making of the images in the field, I can look at them with fresh eyes. Elements like contrast, tonality, texture, composition, visual impact, and even just how much I like the image, can be evaluated more consciously. My goal in this part of the process is to be authentic to my visual experience in the field and my aesthetic response to that image in the studio.
The image below was made a short walk from my studio. I was drawn to the texture of the trees and to the way they surrounded the small red building. The evergreen trees provide a visual color balance to the red and a color harmony with the blues in the shadowy parts of the woods. Strong diagonal lines throughout the image lead from the the upper left to the lower right and so to the red building as well. Most of this analysis takes place in the studio and not in the field, at least not consciously. But I am sure that the studio analysis of the image impacts my subconscious responses going forward when I am working in the moment.
“The enjoyment of beauty is a kind of escape from, a going out from, the urgencies of place and time.” ~ Virgil C. Aldrich (American Philosopher, 1903-1998)
There was a point early in my career where I realized that the process of creation was no longer an option. The act of creating had became an escape from the everyday stresses of life. If I didn’t get into the field at least once a week, I went into a low level depression (withdrawal?). Being out in nature was a big part of what drove the creative process. The science is clear about the benefits of being in areas of woods, around water bodies; even just looking at pictures of nature lowers stress levels.
I have come to realize as well that beauty itself drives my creative process and can serve as an escape. One of the benefits of working in the arts is the ability to create things of beauty. I can create my own escape when I need it. In my farmhouse studio space I can explore subjects in detail at my own pace and experience a world of beauty all to myself. For me art is all about experiences.
The image above was the result of an exploration of a silk moth which I found on our farm earlier this spring. Discovering its intricate wing scale design was a joyful experience. It felt like I was looking at a mosaic of tiles when I viewed a section of wing close-up. For the period of time in which I created images I thought of nothing other than the wonderfulness of the color and pattern. With its rhythm of scales though, it was the curve of the wing that I was drawn to most.
Curves introduce a feeling of tension. While sensual in form, curves imply resistance. Straight is less tense while driving; a curved road requires more expenditure of energy to maneuver. A river that flows through an oxbow is constantly fighting the curves. Straightness implies a fight with gravity which is lost, or even a struggle with death no longer fought. Leo Stein (American art collector/critic, 1872 – 1947) remarked, “Tension in line can be observed if one will follow the outline of a vase and notice the force it takes to bend the line of a contour.” Curves to me speak to a life force, something I think art can convey uniquely.
My first foray into the medium of photography was in making close-up images, technically called “macro photography.” Growing up in a city, even in rather suburban-like Northeast Philly, I had access to limited nature. My interest in nature drove my image making anyway. Because of this, I had to find my inspiration in very small areas (square feet instead of square miles). A macro lens allowed me to make images within a field of view of inches. At that level of exploration, everything becomes interesting and new.
Since that time, the content of my images has expanded to include every scale of nature (wildlife, landscape, even the universe!). Now I live on a farm (very un-city like). And, I find myself looking to explore again at the macro level. I find that I can express as much in the space of a few inches as I can in a landscape depicting a few acres.
Images of the macro kind are made with the same thoughts and feelings as any other type of image. I still deal with experiences, metaphors, color, line, shape, texture, light — just in a smaller area.
Above is an example of an image I made a while ago at Longwood Gardens (just outside of Philly). It is a minimalistic piece with strong color. The color content is harmonious more than complementary. The yellow against the red is very powerful. Keeping the brighter yellow as a small part of the image, I feel, keeps the image balanced.
“Just as you say that a body feels warm to the hand, so you might say that it feels red to what you see with” ~ Virgil C. Aldrich.