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Phil Douglis | all galleries >> Galleries >> Gallery Eighteen: Light and Landscape – combining personal vision with nature’s gifts > Autumn on the Merced, Yosemite National Park, California, 2004
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15-OCT-2004

Autumn on the Merced, Yosemite National Park, California, 2004

The Yosemite Valley is one of the world’s best-known examples of a glacier carved canyon. Its sheer granite walls and flat floor evolved as alpine glaciers moved through the canyon of the Merced River. Today, the Merced still winds its way through the Valley. I use strong contrast in light here to express the change of seasons here by exposing for the leaves and allowing the water to become an abstraction that fills almost half the frame. This creates a negative space area equivalent to a giant arrowhead, pointing to the left at the spot where two diagonals converge. The lower diagonal is made up of the yellowing leaves of autumn, while summer still lingers on the bushes that line the rocks that form the upper diagonal. A faint echo of yellowing autumn leaves can also be seen in the reflection that moves along the river beneath the rocks at the top. Also notice how the light falls on the glacial rock that emerges from the river. It forms a small arrowhead, pointing to that same spot of convergence. When we are photographing a landscape, we must force ourselves to see the forms and shapes produced by contrasting light, and how they effect both composition and meaning.

Panasonic Lumix DMC-FZ20
1/1000s f/5.2 at 23.6mm iso80 full exif

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Phil Douglis29-Apr-2005 04:49
Thanks for being so observant, Barri. When I photograph light, I am also photographing shadow, and I try to create as strong a contrast as I can between them. I always use my spot metering mode, and expose for the most brilliantly illuminated spot in the frame. In this case its the yellow leaves that provide the highlights, and those are what I've metered on. They are exposed perfectly, and the shadows on the water thereby become underexposed and provide more contrast. If I was using a normal overall metering mode, those shadows would have opened, making more surface texture visible. The highlights would have lighter, resulting in a descriptive instead of an abstracted image -- more ordinary, with less contrast. Because the surface texture of the water is so dark, much of the image also seems smoother, and thereby more peaceful.
Barri Olson29-Apr-2005 02:36
I've noticed that you've achieved the terrific contrasts while still using a basically analogous color scheme too...easier for a painter to do than a photographer (hard to do, but done so very well here). I think this adds to the peaceful quaility of this photo also.
Barri
Phil Douglis05-Nov-2004 02:57
Thanks, Vanessa. Serenity is a good word for this image. This river runs quietly, the colors are relaxing and the geometric organization makes every part of nature fit the mood.
Vanessa 04-Nov-2004 22:49
A calm feeling of serenity washes over me when I view this image. What a delight. I love the geometry in this picture.
Phil Douglis28-Oct-2004 20:14
This image is all about contrasts, Marek, not just in textures and materials, but in light. If light is the building block of landscape photography, and it is, then contrasts in that light are what makes it work as expression.
Guest 28-Oct-2004 16:28
The arrangement of shapes is exquisitely poised, just as you describe. In addition, I love the contrast of textures and materials.
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