The Art of the Road Trip (continued)

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Staying on the more remote back roads allows me to avoid traffic, which I find distracting and annoying. It is easier to relax my mind and have a keener sense of vision when I have a road all to myself. The element of the unknown that lies ahead, coupled with the feeling of unbridled freedom, makes every day exhilarating. The anticipation of meeting new people, hearing old folklore, and experiencing ever-changing scenery makes the days pass quickly.     I have also found that old, familiar roads have advantages. I can predict certain things that allow me to create images I have previsualized. I will often return to the same road and photograph the same scene under different conditions. I believe that it is one's strength of vision, combined with relentless curiosity, that makes for memorable photographs.     Learning when to get off the road is equally important. Sometimes, I will spend hours, or even days, walking in an area that I see as having many photographic possibilities. By completely eliminating the distractions of civilization, I find I am able to take a closer look at the subtle details of nature.     The Technical     Simplicity should always be strived for in photography. Whether you are planning an itinerary or what equipment to take along, try not to over-complicate things. I travel with only the equipment that I deem truly necessary.     I find myself using the same three or four lenses for virtually all of my road photography: a 28mm for capturing the spaciousness of a landscape, a 50mm for environmental portraits and patterns in nature, and an 85mm for portraits and isolating details in my surroundings. I also carry a 200mm telephoto for wildlife photography.     My two Nikon SLRs are always loaded with film, so that I can catch a fleeting moment without wasting a second of precious time. Since I have used the same equipment for over 15 years, my familiarity with it allows me to direct all my energy into creating photographs.     The Time Factor     Early mornings, late afternoons, and early evenings are the best times to find the type of lighting that makes pictures appealing and dramatic. The soft light present at these times produces rich, saturated colors with which my work is associated. Something magical takes place when light, timing, and composition all come together instantaneously.     Stalking light requires patience and perseverance. It can be very fickle; therefore, I always bracket my exposures when there is any doubt about accuracy. First, I shoot at whatever the light meter determines is the correct exposure. Then I will underexpose and overexpose by ½ stop. Gray, cloudy days are wonderful for photographing people, because shadows and squinting expressions are nonexistent. The more aware and prepared you are, the more likely you are to get winning images with relative ease.

August 1992 Photographic	Page 2 of 3 | Next · | Back · ·Return to Main Articles
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