Trees technique

[Kevin J. Kolosky]

I have always liked looking a photographs of trees. Especially aspen and birch trees, but really all trees. Two of my favorite books are the Tree books by John Sexton and by Ansel Adams.

And there have been some really fine photographs of trees shown here on this forum.

I am just curious. What is your thought process when your photographing trees. Especially when you are photographing in black and white. What are you looking for to separate your photographs from just ordinary snapshots of trees. Do you only shoot at certain times of the day. Do you only shoot certain types of trees. do you process your negatives differently for trees.
Do you use filters when you are photographing trees.

In short, what do you think about and what do you do to transform what would be a snapshot into a beautiful photograph of trees.

[Jim Noel]

Each question you ask has a different answer each time I approach an image of a tree. SOmetimes I want them backlit, sometimes side, sometimes front.
Do I use filters? Sometimes, but nit always the same one. Do I process them differently? Sometimes.
In other words your questions are too general to be answered by me.

[jp]

LF is particularly good for trees for two reasons for me. 1. Thin depth of field makes it possible to establish distance relationships/designs in the layout of the photo that would not be possible with an iphone or normal DSLR setup. 2. Front rise makes it so trees can be kept vertical without falling back.

Establishing a layout with distance relationships:
https://www.flickr.com/photos/137596...posted-public/
https://www.flickr.com/photos/137596...posted-public/

Verticals where front rise is good:
https://www.flickr.com/photos/137596...posted-public/

Form; Trees make good shapes just like a person posing can make or break a photo; I look out for that.
https://www.flickr.com/photos/137596...posted-public/

Standard compositional things like lines and tones:
https://www.flickr.com/photos/137596...posted-public/

I haven't figure out filters with trees yet. Mostly filters are used to make things stand out from the background on the basis of color. Most of the trees I shoot are the same color as their surroundings, so focus is better than filtration for that for me.

I don't try to photograph texture. It's a given. If it is supposed to be in the photo, make it be in the photo. I have a mood or feeling in the woods. The trees surround me and filter all light. I have to work with them if I am going to use light to put what I feel+see on film. If you're dealing with beams or spots of bright sunlight, B&W film or color negative film like portra can be a lot more able to capture the dynamic range than digital at the present time.

I appreciate what Sexton & Adams saw and photographed, but wait, there's more. I'm a fan of the intimate landscapes. Eliot Porter felt+saw like Thoreau and captured that on film for his east coast stuff. How a tree is lit you suggest might be times of the day; I think it's more about which side of the tree you are on, whether you want a bright tree, a dark tree, or a gradient on the tree.

[Light Guru]

In short, what do you think about and what do you do to transform what would be a snapshot into a beautiful photograph of trees.

Snapshots have little to no thought put into them. If you want something more then a snapshot put some effort and time into thinking about your image before you take it.

[Kevin J. Kolosky]

"Snapshots have little to no thought put into them. If you want something more then a snapshot put some effort and time into thinking about your image before you take it."

My question was not what I should do. I'm not photographing. I'm looking at great photographs and want to know what YOU thought and what effort YOU put into it to make those great photographs.

For example, Eric told me that he often photographs aspens very late in the afternoon. He says he opens the shutter and walks away to have a sandwich and a beer, and then comes back and closes his shutter. I think his photos of Aspens are absolutely fabulous.

[Vaughn]

I photograph the light reflecting off the trees...that is my main consideration. While there is light, there is a possibility of a photograph...though I like working under the redwoods from 10am to 4 pm -- depending on the time of year.

The backlighting of this tree is what attracted me. (8x10 carbon print)

[Heroique]

Nice back-lighting, Vaughn.

Before I commit to a shot, I like to walk all the way around the tree with a viewing card.

Not just to inspect all sides of the tree, but all the backgrounds, too.

A tree in diverse surroundings is full of surprises, especially when the light is changing or shadows moving.

[Kevin J. Kolosky]

Vaughn

Was that photograph made anywhere near the spot where Lady Bird Johnson dedicated the Redwood Forest as a National forest?

[Vaughn]

No, it is in the Humboldt Redwoods State Park (Bull Creek Flat), in southern Humboldt County. I do not photograph much in the Lady Bird Johnson Grove, where Lady Bird Johnson dedicated the new Redwood National Park -- too many people usually (as in actually seeing someone else!), and I like areas nearer to creeks. I am working on a project along Redwood Creek (down slope from LBJ Grove) -- backpacking down to the creek then up it with the 4x5 and Tech Pan film (making carbon prints) -- an example:

[Jim Fitzgerald]

I love trees and have worked with Vaughn in the Redwoods several times and I am a dedicated carbon printer as well. For me it is the feeling. The way the light moves and makes the texture pop and the sure beauty of how some of these majestic trees survive. I can shoot between 10 and 4 as well but it is the light that attracts me. I've been working on a series of Black Oaks in Yosemite for years. Here are two different ones. Yes different pigments used to get the tones I feel. Fun thing about carbon.