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Phil Douglis | all galleries >> Galleries >> Gallery Nine: Composition -- putting it together > Ripples, Beagle Channel, Tierra del Fuego, Argentina, 2004
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Ripples, Beagle Channel, Tierra del Fuego, Argentina, 2004

I seldom rely on special effects to enhance my photographs. I prefer to keep things pretty much as I saw them. But every now and then an opportunity comes along to try a graphic technique that might help tell my story more effectively. Such is the case here. The key to this image is the flow of the ripples in the water of the Beagle Channel, a vital waterway which carried our ship from the end of Argentina into the Drake Passage and on down to Antarctica. The procession of soft horizontal ripples covers more than half the picture. The sky also seems rippled by two horizontal clouds. In between them, snow-clad mountains plunge straight down into the water. The ripples have a calming effect. To intensify the calmness of the scene, I needed to simplify an already simple picture to an even greater degree. In effect, I needed to recompose the picture by removing every superfluous element I could. To do this, I removed all color from the image in Photoshop, converting it to a black and white picture. This offered a very clean, abstract look, but it was still a bit too harsh for the point I was trying to make. I then added brown to the mix, making this photo into a duotone. Brown is a warming color and calming color. The ripples became as soft as velvet – exactly the effect I wanted. I had captured feel of the Beagle Channel as I remembered it on that evening – almost as smooth as glass. A far cry from the churning waters of the Drake Passage that lay dead ahead.


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Phil Douglis13-Apr-2007 20:27
Thanks, Chris. This image has inspired many comments, all of which have enriched both its meaning and its methods for me. Glad you like the timeless mood of the duotone - and as for those ripples, when we are traveling on a ship, we always get ripples or waves in its wake. It was just a matter of cropping out the larger ones closer to the ship, and then shooting the more distant ripples in this particular light, so as to create the textures and rhythms that best convey the meaning I was trying to express.
Chris Sofopoulos13-Apr-2007 09:09
Fantastic duotone composition and perfect timing with these ripples in the water!
Phil Douglis21-Aug-2006 23:09
I am happy to bring some calm to you right now, Lorraine. This image is very soothing to both the eye and the emotions. I rarely tone my images, because in most cases it adds a layer of obvious manipulation. But in this case, it works in synch with my intentions --to offer a sense of calm and purity. And as you so eloquently say, a sense of earthly warmth. If we can bring warmth to one of the coldest places on earth, all the better. If that brings you some peace, so be it.
Guest 21-Aug-2006 19:15
This is what I have been looking for..calmness. The duotone works perfectly the brown brings an earthly warmth and sense of charm to this place.L.
Phil Douglis16-Jul-2006 19:27
Thanks for clarifying your interpretation of "corresponding," Sun Han. I think we are actually talking about the same thing. I used "decisive moment" as a comparative phrase, describing a moment frozen in time. It was not intended to describe this image. I went on to say, in my response to your marvelous comment, that everything fits together so well here that this moment is not frozen, but goes on and on, extending into time. We are both talking about a sustained process here --rather than a frozen one.
Guest 16-Jul-2006 15:20
the word "corresponding" has echos, it bounces among all the people who share the scene in time,it combines the observer and the observed, and it eliminate the subject and object dichotomy. although we may mean the same thing, the word "decisive" make people easily associate to the individual decision to "cut" and to "execute", anyway, it just don't have that sustaining power as "corresponding"
Phil Douglis15-Jul-2006 17:04
Once again you add a stunning commentary to one of my favorite images, Sun Han. Both the painting you post below my image and your own sea scape image share a common bond with this image: they all celebrate the sea in ways that move the soul. I love your phrase: "a moment of perfect corresponding." Some call this the "decisive moment", and usually apply it to human interaction. But there is a place for a decisive moment in landscape and seascapes as well. "Perfect corresponding" simply means that everything is in its place, fitting so perfectly that the moment is not frozen, but extends into time. As you say so beautifully here, it "evokes a moment of spontaneous compassion that goes on and on.' Thank you once again for your contribution, Sun Han -- you have intensified my appreciation of this image manyfold.
Guest 15-Jul-2006 09:25
this is an image, in my term, of "a perfect corresponding"

"the rhythmic interplay of the horizontal rows of ripples
and the rows of horizontal couds" is no coincidence, Phil,
it worths celebrating what nature reveals to you at that very moment.
and you followed your good intuition to put the horizon right in the middle

let me show you a painting i coincidentally found online, although it might be called "scientific art" or "quantum art" it tells the exactly the same story
as your photo here try to show


the moment of "a perfect corresponding" evokes a movement of spontaneous compassion
that goes on and on

about the discussion of using some effect to enhance the simplicity
and contrast of sea/sky, light/shadow
here is a photo i took years ago in taiwan
http://www.pbase.com/showme/image/6569567

best wishes
Phil Douglis25-Sep-2005 23:29
Thanks, Rod. I appreciate the point you make here about breaking the rules of composition. It is good to know them, because they usually make good sense, but any rule must looked at as you have done here -- does the rule help or hurt the final expression? In this case, placing the horizon lower or higher would have destroyed the meaning I was seeking here. So it stands there in the center -- a rule broken, to good effect. I tell my students to think of rules as suggestions only. Centered horizons usually make static, boring images, so we usually suggest otherwise. But to follow such suggestions blindly is a dangerous business, as you have so well shown us here.
Guest 25-Sep-2005 21:05
I agree with everyone's assessment of the mood and feeling of the photo, but again, the topic here is "composition." I really feel this works, and shows some "rules" of photography can be broken (e.g., keeping horizons out of the center of the photo). In this case, moving the horizon up or down would have hurt more than helped. The strongest part to me is the waves, but bringing the horizon "up" would have badly hurt the background of the mountain. "Lowering" the hroizon would have minimized the impact of the wonderful waves. So, I think your choice of compositon here is good to bring out the important parts you wanted to focus on. :)
Phil Douglis23-Apr-2005 18:51
You add still another dimension of meaning to this image with this comment, Ruth. How puny man is indeed when it comes down to it. And this is coming down to it, isn't it? If this image can give you any insight into finding a sense of balance within your own world, it will greatly please me.
ruthemily23-Apr-2005 12:39
you are welcome! i'm pleased i could bring a new meaning to the photograph. i think what you say about nature is bang on. as human beings we like to think we can control everything, nature included... but we can't. we are so insignificant in the grand scheme of things. today, this image speaks to me of power and of finding balance in my own chaotic topsy-turvy world. i'm glad i came back to it.
Phil Douglis22-Apr-2005 21:21
Thanks, Ruth, for stopping at this, one of my favorite images. You do a brilliant job of defining what is going on here -- so much so that for the first time I feel the incongruity you pointed out when you said the space between the mountains felt menacing yet the clouds above did not. What you are feeling here is the essence of nature itself. Distant mountains are always beautiful to look at, yet when we get closer to them we may feel threatened by their sheer bulk. Mountains are colossal in size, awe inspiring objects -- yet they spawn terrible storms and often kill those who try to climb them. In other words, nature is all about opposites. And that is what I now know drew me to photograph this image, perhaps even more than the stillness, the end of the world feeling, and the soothing ripples. This image is really about the opposing nature of nature itself. Big versus small, light vs. dark, near vs. far, distant beauty vs. overwhelming scale. Since this is my composition gallery, I have always been studying this image based on its organization, and paid less attention its potential for expression. Your comment focused on expression, and made me see this photograph in a fresh and rewarding way. All that you say is very true -- what can be chaotic is now serene and still, and I have indeed made an image without any sign of human presence, except, of course, the ripples that come from our cruise ship. I do break the so-called rule of composition by placing the horizon in the middle, but that's the way it works best, doesn't it? Thank you for breathing new life into this old favorite for me, Ruth.
ruthemily22-Apr-2005 20:44
i don't even remember opening this image -- i flicked from the window containing my own gallery to this one containing your cyberbook and this scene confronted me! and what a scene it is.

to me, it is stark and intense. total darkness contrasted with brilliant white/light. this certainly does have an (almost the) end of the world feel to it. it confuses me because i feel that the narrowing of the space between the mountains in the distance represents something menacing while the clouds above suggest differently. it is as though we are being warned that looks can be deceiving, or whether we are being encouraged to confront even those things that seem terrifying because they might not be that bad.

the water....it's amazing how what i think should look totally chaotic, is so calm and serene. there are ripples going one way, but also those that are running perpendicular to them....and they all seem to work! there is no mad mix up in the middle. like you intended, it speaks of stillness and serenity. order even in potential chaos.

i love Jen's comment about you delivering this message without any sign of your presence. this scene really does look "untouched" and it is hard to imagine yourself, and others no doubt, there.

one last thing, which i think adds to the feeling of calmness is the sense of balance you give to the photograph by composing it with the horizon running through the centre.you break "rules" and the image benefits.

like Jen, i can see myself falling in love with this one!
Phil Douglis14-Dec-2004 21:02
Hi, Jen. Glad to know you've fallen in love with this picture. Expressive images can do that to us. The more we look at them with fresh eyes, the more will see, and hopefully, the more we can learn from them as well. You are right. I have composed this image as a series of contrasts that draw the eye into and then throughout the image, expressing ideas as they do so. It is indeed a study of hard vs. soft. And as you say, the soft side of the picture seems to be changing as well, which is the key to this image. The implied presence of change, expressed through the moving ripples in both the water and the clouds, contrasts to those unchanging mountains that seem to have been present forever. The changing ripples also express a calm tranquillity, intensified, I feel, by the warm brown tint I've introduced here.
Jennifer Zhou14-Dec-2004 14:36
To see the picture from left to right, our eyes travel from darkness to the brightness. I see why you put this picture in composition gallery. On the dark side there is a mountain peak, and on the other side, the clouds keep a good balance of the picture. In addition, one side is hard and solid, one side is soft and changing. And the water on the bottom echoes all these wonders making everything unbelievable and unforgetable.

Keep coming back, I think I've fallen in love with this picture!

Jen
Phil Douglis14-Dec-2004 03:16
Another layer of meaning from Jen. Thanks, always, for thinking my images through and coming back to them again and again to learn more from them. I agree, the tonality not only calms, but takes this image out of reality, adding not only mystery but fantasy as well. You are correct about the scale and magnitude of this image as well, Jen. The Beagle Channel, which leads to the Drake Passage at the end of South America and on to Antarctica itself, marks the end of the mighty Andes Mountains, which are seen here on cold, gray afternoon. This image has evoked many impressions as I intended to do. It is a very simple photograph, but it implies a complex question: how do we save places such as this, which are among the very last wild places left on our earth. This image, in its own way, is a symbol of what we once were, and of what we may someday lose if we are not careful to, as you say, "never to disturb its dream."
Jennifer Zhou14-Dec-2004 02:52
The tone adds a layer of mystery, to me it speaks not only the calmness but the power of nature, to say it is mysterious because our humankind could never come close to know how huge this power is and will be.

I love so much how Marek interpreted---hearbeat of our universe. Yes, the world is like a sleeping giant with the power we would never imagine, but for now, we have peace with each other but we should always this in mind----love and protect our nature----we should never disturb his dream.

Jen
Phil Douglis13-Dec-2004 19:55
You manage to sum up the point of my image quite well here, Jen. It is all about tranquility and purity and aloneness. In my image, the rippled water is the subject, the land and sky the context. In yours, the spectacular sky is the subject, and the land and water the context. But in the end, both images convey, as you so perfectly put it, the order of nature itself. Everything in both your image and mine exists in harmony with each other. You photo was made from a park in the middle of a city and mine was made virtually at the end of the world, yet each expresses similar values and meanings, right down to the sepia tones that warm them.
Jennifer Zhou13-Dec-2004 16:11
This picture remind me of my sky shot:http://www.pbase.com/angeleyes_zyl/image/21079384

I used the same PS technique as you did there, while my picture express ominous feelings, yours is about the nature wonders. The peaceful land, river, and mountains are so pure as if no human ever set their feet on and should never will becuase any of that would disturb this quiet and the order of nature..

I am glad you bring this moment to us without any sign of your presence.


Jen
Phil Douglis16-Aug-2004 01:17
Thanks, Bruce, for sharing your thoughts on this image with me. I rarely tone images, but this one just begged for it. The sepia duotone gives the water a calming effect, and that was what I wanted here -- to warm up what once was a very cold, stark, gray image.
Guest 15-Aug-2004 02:52
This is incredibly beautiful. The lines, the rythymns, they all work together to draw me in. I found your "recipe" for toning to be very interesting, something to try...
Phil Douglis24-Apr-2004 20:11
Thanks, Marek, for savoring this scene. It is one of my most tranquil images, and your analogy is apt -- if the world had a heart, it might well be beating somewhere underneath the Beagle Channel, one of the most pristine waterways on earth. Your comments often read as a form of poetry, which I cherish. Both you and China's Likyin Yeung -- who has also commented on this image -- frequently leave words under my images that pick up where the photographs end and carry their meaning to a new level altogether. I'm delighted that my pictures can trigger such thoughts and will always welcome them.
Guest 24-Apr-2004 07:25
Again, I haven't seen this one before Phil, but I think it's one of your most beautiful landscapes. Apart from its amazing monochromacity, the ripple effect reminds us of the mostly invisible rhythms which are the heartbeat of our universe.
Phil Douglis15-Mar-2004 21:51
Thanks, Anna. I don't know if you would call it "selective coloring" since more than the water appears here in this sepia duotone. However this color choice does indeed have a calming effect on the Beagle Channel -- you are very perceptive. I looked at this picture in color, in black and white, as a straight sepia image, and ultimately as a sepia duotone, and for some reason, the sepia duotone worked the best to help me make a very chilly scene into a warm, calm experience.
Anna Yu15-Mar-2004 18:11
Hi Phil,
I'm making very slow progress through your galleries and haven't even finished this one yet. What interests me most about this image is the way you used selective coloring to achieve the effect of smoothness in the waves. Never thought of that before. Thanks for this one lesson for today.
/Anna
Phil Douglis08-Feb-2004 05:51
Brahms, no less. One of my favorite composers. He must have been there in my subsconscious when I decided to turn this image into a sepia duotone, because his music is very much in synch with the warm, melodic nature of this image. Once again, your poetry works wonders with one of my images. It is a rare gift to be able to match poetic words with expressive images, expanding and enriching the photograph's message without burdening it with the sentimental cliches of a greeting card. Thank you, Likyin, for these words.
Guest 08-Feb-2004 05:24
I opened this gallery quite a few times and this image always caught my eyes. Sure it is, expressing a melodious and grandiose emotion.
Mountains were snow-capped but warm, the Sky was cloudy yet calm. The fathomless and edgeless sea was as safe as soil, as soft as silk.
Let mind fly along the space they surrounded.

The beginning of Bramhs' Piano Concerto No.2
Phil Douglis01-Feb-2004 16:59
Thanks, Dorothy, for your thoughtful comment on the particular image. You are the first to let me know what you think of it. It is one of the most peaceful images I have made -- I felt it would be a perfect fit for presentation as a sepia duotone because of its calming effects. As for its stark grandeur, that is the very nature of the Beagle Channel and the Patagonian Andes. Much depends on light here as well. But ultimately, this image works because of its composition -- the rhythmic interplay of the horizontal rows of ripples and the rows of horizontal couds, the way the receding trail of ripples leads the eye deep into the picture where the slope of one mountain draws attention to the snow-capped brilliance of others. I am glad you enjoy looking at this image as much as I enjoyed making it, Dorothy.
Dee 01-Feb-2004 06:21
Phil,

This has such stark grandeur. Your photos are richly rewarding for their beauty and their lessons in photography. So much to enjoy and learn from! Thanks indeed for sharing!

Dee
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