With the nation still recovering from the Great Depression and entering the Second World War, it may have been a simpler time, but it surely wasn’t an easier time.
A new series of artwork by photographer and artist Edward M. Fielding sources classic black and white photographs by FSA government photographer Marion Wolcott.
Marion Post Wolcott is best known for the more than 9,000 photographs she produced for the Farm Security Administration (FSA) from 1938 to 1942. This work is preserved at the Library of Congress Prints and Photographs Division.
Famed for her most heartfelt photos in eastern Kentucky and poverty, Wolcott also managed to capture America at its most leisurely point in the trailer parks of Sarasota, Florida. Here retirees and vacationers wash their cars, hang up laundry, come the beach for shells, play shuffle board, and lounge around soaking in the sun.
Fielding uses these images of leisure in his new series of Pop Art pieces in the Sarasota Series.
This art print series gives a modern pop art twist on Old Florida a will certainly add bright sunny colors and a bit of nostalgia to any modern decor in the form of canvas prints, metal, wood, or acrylic prints as well as framed an matted prints with your choice of hundreds of framing options. Throw pillows, tote bags, shower curtains and other products with these images are also available at the Sarasota Series gallery collection.
Fine art photography and digital art by artist Edward M. Fielding. Fielding is an artist working in the photography and digital media. As a freelance artist my work is currently represented by several leading stock agencies.
My work has appeared in featured in numerous magazines, greeting cards, advertising, book covers and media companies as well as been widely shown and juries into fine art shows.
Recently I was one of the featured artists in the PhotoReel art show at Gallery W at the Whitney in the Berkshires.
In the old days of farming, farm equipment was often left where it died. But this farmer decided to bury his old C JACKSON MAYO ten feet under bog mud.
Now, a 56- years old tractor that was buried in a bog for 10 years has not only been rediscovered and dug up, it’s expected to be in full working order soon.
The old gent says it was buried for about 10 years. A hole was dug and the tractor was placed in it upside down, then it was covered back up completely.
“I did not think much about it again until last year,” said Mr. Jackson, who added that after a dry spell, the man who had buried the tractor dug around in the area and found the tractor after it had been 10 years underground.
Fort Myers Beach – A Great Spot to Capture a Sunset
Let’s face it. Sunsets with nothing more than miles of blank ocean to the horizon and then a ball of sun dropping into the sea are boring as hell. Imagine a small child’s drawing of said sunset. Not much better than the square house and lollipop tree crayon rendering.
Sunsets as an experience are wonderful with cocktail, glass of wine or beer in hand and your skins slowly feeling a sunburned memory of a fun filled day at the beach. But as a photography subject, many a snap shot fails to capture the feeling of the moment.
As with any good landscape, the artist seeks to find strong elements for a complete composition of foreground, middle ground and background. Too often snaps of a sunset have nothing but background which is why they fall flat in the intrigue, substance and interest levels.
Taking Fort Myers Beach as an example, the fishing pier makes a great point of interest for fantastic sunset photos. Located on the western coast of Florida, this region of Florida makes for great sunsets over the Gulf of Mexico.
The trick is figuring out where the sunset will occur, finding a great foreground to add interest to the shot, set up your tripod and hope people stay out of your way, bracket your exposures and don’t forget to manual focus before you lose the light because your autofocus might not work in low light.
Also stick around after the actual sunset to get some amazing colors in the sky that only occur AFTER the sunsets.
I like having my camera on a sturdy tripod for sunsets. Take a exposure reading off the sky, set up your camera in manual and shoot away. Look at the results in the LCD screen and examine the histogram. Adjust your setting and fire away bracketing your shots to cover a wide exposure range.
Keep in mind that to create a stunning sunset you’ll need some great clouds. A blank sky is going to be boring and often the sunset gets lost in low hanging clouds on the horizon so be prepared to revisit the same spot several times during your stay in the area. Also stick around after the sun goes down in case the sky opens up.
Also take your white balance off of auto WB and put it on Daylight. Auto will adjust for the warm tones and take away the colors you came to see! Play around with the WB setting if you want to intensify the colors.
Tired of dull, gray snow scenes? Having trouble taking bright, white snow photographs? Here is what to know when shooting snow!
Early cameras did not have built in light meters. You either had to guess at the exposure based on previous tests or later using a handheld light meter. It was easier when using a flash bulb such as on a press camera you see used in the movies because the exposure with a flash bulb is based on distance – basically the time it takes for the light to bounce off the subject and come back to the camera.
Eventually light meters were included in the camera design. But the most important thing to remember about light meters is that are measuring the object they are pointed at and are trying to calculate the exposure to represent the subject at what is known as 18% gray.
As the majority of snapshot with cameras are people and assumed Caucasian or Asian skin tones, the camera manufactures assumed that most of the time photographers would want to expose for this 18% gray tone.
This means that every time you take a picture of something that is not 18% gray or in that range, the exposure is most likely to be over or under exposed.
Take a picture of a 18% gray wall and it will correctly expose as 18% gray. Take a picture of a white painted wall, white wedding dress or snow and it will come out underexposed or gray.
Take a photo of a black wall or a black frying pan and it will come out overexposed or gray instead of black.
This is why its important to understand how to use your exposure compensation controls on your camera to purposely under expose or over expose your scene to get the right exposure.
Over expose to get white snow, under expose to get true black scenes. You have to “fool” or “trick” your build in exposure meter to get the right settings.
Another method would be to shot a 18% gray card and then enter those setting into the camera in manual mode. Or use a light meter to take the ambient light measurements. Rather than metering reflected light, this setting on a hand held light meter measures the light falling on the scene.
Why 18% Gray? Is it really 18% or more like 12%? Does it really matter?
The story goes that Ansel Adams came up with the “18% gray” figure. Back in the hay day of film photography he was developing the zone system and needed to define a “middle gray”. It was a judgment call. Eventually, the idea caught on, but film and camera companies picked their own middle gray. It is a fun fact that your digital camera probably uses something more like 12% gray as middle gray.
Whatever the number, the idea behind middle gray is not that is “reflects 50% of the light”. Or even that “it is half way between absorbing all light (pure black) and reflecting all light (pure white)”. It has to do with your perception.
Your eyes are logarithmic detectors. That is, if a source gets brighter by a factor of 4, it will only seem brighter by a factor of 2 to you. If it increases by a factor of 32, it will only seem brighter by a factor of 5. If it increases in brightness by a factor of 128, it will only seem 7 times brighter to you.
The above are not the actual numbers. As you can imagine, measuring how bright things seem to people is very tricky, and varies from person to person. The important thing is that it is this weird logarithmic nature of your eyes that keeps middle gray from being 50%.
How to use a gray card to determine exposure
Set your camera to manual shooting mode. Select the ISO and aperture you wish to use for your shot.
Set your camera’s metering mode to Spot Metering. This will allow the camera to read a very small area only, helpful if you only have a small gray card. You only want it to read the light off the reflector only, not the entire scene.
Set your focus point to single and choose the center one. Your camera will meter the same place it focuses.
Aim your camera at the gray card and press the shutter button part way down to take a reading. Looking in your viewfinder (eye piece) adjust the shutter speed until it gives you a reading of “0” (zero).
Take a test shot of the model (or subject) and the gray card similar to the one above. (You’ll be able to use this in part four below also.)
Review the histogram – you should have a perfect exposure with the gray card and all tones falling in the correct zones.
The scene of some terrible drama that occurs during a howling snowstorm. A place you don’t want your kidnapper to take you. A place where no one can hear your screams.
Perhaps a place where the rabbits were butchered. A sex crime occurred. A strange old hag lives casting her evil spells.
Maybe a place of poverty and shame. Growing up in the shadows of the coal fields or where Grandpa sharpened his knives and axes. Perhaps the place where secrets or fugitives are hidden. Maybe shelter for that escaped convict from the local prison, unknown to the little girl sent out for kindling or to feed the goats.
Of course these old cabins in the woods or covered in a blanket of fresh winter snow don’t have to be the scene of terrible events. They can be fond memories, sugaring shacks for boiling maple sap down to sweet syrup, they can be workshops, warm and toasty vacation spots or even warming huts for cross country skiers.
The cabin photographs in this collectin depict remote cabins, barns, shacks and sheds in all seasons including winter, spring, summer and fall.
These fine art photographs, watercolors and paintings are available as prints rolled in a tube, framed and matted prints from hundreds of combinations of mats and frames, canvas prints, acrylic prints, metal prints, wood prints as well as on products such as tote bags, throw pillows, phone cases, greeting cards and more!
Seems like photography enthusiasts drift toward bird photography at some point in their lives. They are either a birder who wants to capture their life list in photos or a amateur photographer who is looking for a great subject that gets they out of the house. In either case, most of these would be bird photographers come to me with questions about how to improve their photographs. Namely they want to product photographs of the quality they see in their birding books and in National Geographic magazine.
The problem lays in trying to compete with professionals who write off insanely expensive cameras and glass and will stalk their subjects for three weeks in some exotic location paid for by the magazine. This is why as a photographer trying to make a living on their work, I don’t want anything to do with bird photography. The quality long lenses can cost $5,000 to $25,000 and the top cameras can cost over $3,000. That’s a lot of equipment money to try to make a profit on and the market for bird photography is over-saturated and not even all that in demand in the first place. Low demand and high costs of equipment. Not a good formula for turning a profit.
And then there is the travel costs. Unless you have a lot of exotic birds in your backyard, you will have to travel to find them. A birder friend of mine recently took a cruise to South America and the Galápagos Islands. She had a great time and added something like 900+ birds to her life list but also came back with a lot of blurry bird photos. But I disgress…
Bird Photography on the Cheap
Birds are tiny! They represent a small fraction of your total view. With your eyes you might focus in on the birds and disregard the surrounding but when you take a photograph of them, you realize how small they really are compared to the overall landscape. So you are going to have to get close – either physically or optically.
So you don’t have tens of thousands of dollars to spend on long expensive lenses like the Canon EF 600mm that costs about $10K.
Tip One – Buy a lens aimed at the photo enthusiast market instead of the professional level lens such as this Sigma lens. You can also rent lenses to test them out or while on vacation although renting a lens isn’t cheap, It can cost hundreds of dollars to rent a huge lens.
Tip Two – Get a bridge camera with a built in long lens. These are birders favorites as they provide plenty of zoom at a low cost.
Tip Three – Get closer to the birds. This is the cheapest way to get close up photos of birds, Set out some food and hunker down in a blind and wait for the birds to come to you. You can photograph the birds with shorter range lenses if you are closer to them.
Tip Four – Crop in your photos. Just because you see a photograph of a bird in a magazine and it looks like the photographer is right on top of the bird doesn’t mean they didn’t crop the photo. Birds are tiny, crop in for maximum impact.
Tip Five – Create a feeding station and put plenty of perches around for more natural photographs.
Introducing a new collection of vintage nautical sea life prints with sea shells, tall ships, crabs, sea horses and more. Each design can be ordered frame and matted from our collection of hundreds of papers, mats and frames from rustic cottage to chic modern designs.
These nautical designs can be ordered as prints, framed wall art, canvas prints, metal prints, wood prints, acrylic prints as well as rolled in a tube for framing locally or in your existing frames. Products such as tote bags and throw pillows are also available.
The major cities along the coast might have seen Blizzard Stella fizzle into rain and wind but here in the Upper Valley area around Hanover College, we got a big dump of snow.
A blizzard is a severe snowstorm characterized by strong sustained winds of at least 35 mph (56 km/h) and lasting for a prolonged period of time—typically three hours or more. A ground blizzard is a weather condition where snow is not falling but loose snow on the ground is lifted and blown by strong winds.
A nor’easter is a macro-scale storm along the upper East Coast of the United States and Atlantic Canada. It gets its name from the direction the wind is coming from. The usage of the term in North America comes from the wind associated with many different types of storms some of which can form in the North Atlantic Ocean and some of which form as far south as the Gulf of Mexico. The term is most often used in the coastal areas of New England and Atlantic Canada.
December 17–22, 2012 North American blizzard December 17–22, 2012
December 25–28, 2012 North American storm complex December 25–28, 2012
February 2013 nor’easter February 7–20, 2013
February 2013 Great Plains blizzard February 19-March 6, 2013
March 2013 nor’easter March 6, 2013
October 2013 North American storm complex October 3–5, 2013
Buffalo, NY blizzard of 2014. Buffalo got over 6 feet of snow during November 18-20, 2014.
January 2015 North American blizzard January 26–27, 2015
Late December 2015 North American storm complex December 26–27, 2015 Was one of the most notorious blizzards in the state of New Mexico and West Texas ever reported. It had sustained winds of over 30 mph and continuous snow precipitation that lasted over 30 hours. Dozens of vehicles were stranded in small county roads in the areas of Hobbs, Roswell, and Carlsbad New Mexico. Strong sustained winds destroyed various mobile homes.
January 2016 United States blizzard January 20–23, 2016
February 2016 North American storm complex February 1–8, 2016
February 2017 United States blizzard February 6–11, 2017
I was recently contacted by the producers of an upcoming documentary film project called “1968mm” which will be all about the historic events surrounding the year 1968 including Vietnam.
The entire film is sourced with Super8 home movies and eyewitness accounts from people who lived through these years full of dramatic events. The following YouTube clip shows some of the footage I have available for licensing. If you need such footage for your own documentary project, contact me at: email@example.com
2018 will be the 50th year anniversary of one of the most turbulent and influential years of the twentieth century. 1968 saw the Prague Spring and the Soviet invasion in Czechoslovakia, massive student demonstrations in Paris, anti-war protests in Chicago, the “Tet Offensive” and the Mi-Lay massacre in Vietnam, a student mass kill- ing in Mexico City, the assassinations of Martin Luther King Jr. and Bobby Kennedy and countless other events which shook cities across the globe. This year was also marked by turning points in the Civil Rights and Feminist movements and the rise of a diverse “Counter Culture” which rattled the very core of the mainstream.
The unique three-part series 1968mm, tells the story of that epic year in a fresh new way: through the stories and home-movies of those who were there.Decades after this climactic year, we are seeing a recurrence of worldwide upheaval. The revolu- tions of the Arab Spring and the “Occupy” move- ments in North America and Europe carry an echo of 1968.
However, unlike today, where move- ments are extensively recorded and instantly communicated around the world through endless streams of personal digital videos, photos, and tweets, 1968 was a time without video, internet, or cell phones. 50 years away, let’s discover 1968 from a new point of view, not through the events that made it into history books, but the unknown stories of people that, just like today with smart- phones, filmed history with their 8mm and S8mm cameras.