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Phil Douglis | all galleries >> Galleries >> Gallery Forty-Two: Adding meaning to scenic vistas > Lamar Valley dawn, Yellowstone National Park, 2006
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29-SEP-2006

Lamar Valley dawn, Yellowstone National Park, 2006

Once again, a scenic vista defines the presence of man within nature’s domain. The road is the focal point here. It begins at our feet with that bold white line winding away from us. Eventually, it carries us to the headlights of a distant car, which provides important scale contrast to this scene. The mountains – including the 9,500 foot high Druid Peak at the top of this image, seem much closer to us than they really are due to the 230mm focal length I use to make this image. The Lamar Valley does not look very much like the other sections of Yellowstone. We saw no geysers or smoldering hot springs up here. Somewhat off the beaten path in the far Northeast section of the vast National Park, it seems more open and less wild. However appearances can be deceiving. The Lamar Valley is home to the wolf, bison, and grizzly bear. This image, with its pinkish sky and purple hills, give us not only a sense of place, but also a sense of what it feels like to be here in the morning cold before the sun can warm us.

Panasonic Lumix DMC-FZ50
1/60s f/3.6 at 48.7mm iso100 full exif

other sizes: small medium large original auto
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Phil Douglis10-Jul-2009 23:01
You sum up the magic of the Lamar Valley beautifully here, Rose. I like this shot for what it says, and I also like the wideangle image I made in the valley (http://www.pbase.com/image/69230768 ) which expresses the vastness of the place, while this telephoto image stresses offers a sense of the place itself.
sunlightpix10-Jul-2009 20:18
Compared to your wide angle image, I prefer this one. My attention settles on Druid Peak in the distance. I see the road as a jumping off point, and I like the way the lane lines disappear. I've been fortunate to be in the Lamar Valley several times and have experienced a measure of its grandeur. When I see this image, I know its only a thin slice of that vastness. (The Lamar River isn't even in the composition and its a substantial waterway; but that's added context that isn't part of everyone's experience.) For me, this image successfully expresses part of the romanticism of the American West, that the individual is isolated, a long way from civilization, with winter approaching; yet among the purple mountain majesty.
Phil Douglis08-Nov-2006 20:31
Thanks, Ai Li, for learning not only from this image, but from the dialog it has stimulated. I am glad you got lost in this image, and felt a sense of wearyness. That is exactly what I had hoped would happen. I think the key here is the repeatedly vanishing road which make us lose our bearings. I am also glad you feel the same as I do about the nature of expressive photography and interpretation. It shows in your own images, particularly in your self portraits, which dare your viewers to come to their own conclusions, rather than the safer route of taking them by the hand and guiding them to the point you want them to understand.
AL08-Nov-2006 09:40
What an interesting exchange of views! The power of expressive photography, open to our interpretation! We see and feel what we choose to see and feel. No right or wrong. To me, from your perspective, I did allow my eyes follow the road, down to the valley and get lost in the moody light and color. It's quiet and almost undisturbed. But I felt somehow weary, perhaps because of the low light or the long distance that I was about to cover.
Phil Douglis03-Nov-2006 19:15
I don't expect every viewer to see my images in the way I intend that they see them, feel them, and imagine them. It is this variation of response from viewer to viewer that makes expressive photography an art form, giving it its depth and breadth. You see this image quite differently than what I intended to express -- it is not the road that is at the core of my intended expression at all -- it is the disappearance of the road. I am trying to make the viewer feel isolated, alone, cold, perhaps even lost. You see the image from an entirely different perspective -- you would like to see me emphasize either the skyline or the road, because that is the image you would prefer to see. But that would be your image, Zane, not mine. Which is fine -- if you want to make your art out of my art, go ahead and do so -- that's part of what art should be all about.
Zane Paxton03-Nov-2006 09:21
I agree that it is important, perhaps even fundamental to be very clear about what one is trying to express. Once we have that inner clarity of what we want to express and can start to identify what is important about a situation before us, then the choices as to how to express it becomes so much easier and clearer.

It is worth considering, to the extent that an image is to be shared with others, then we are back to the conversation about whether or not the intended expression translated effectively, or insome cases perhaps at all. In most cases images don't have a lot of attached verbiage to enhance the communication with explanations so they usually have to stand on their own. Also the viewers generally don't have the benefit of the experience of had being there, then we are again back to the image needing to convey that within the discipline of a purely visual language. What I'm struggling with here is that I really didn't get your intended message from the visual information presented. If the road is at the core of the intended expression, then it needs more visual presense or emphasis to convey that importance. Just my 2 cents.
Phil Douglis02-Nov-2006 23:41
Thanks, Zane, for your musings on this image. My intention here was to isolate the viewer, making him or her feel how I felt at this moment -- cold, alone, and unsure about what might lie ahead of us. I wanted that white line to fade away, to persuade the viewer to follow it and lose it and then discover the distant lonely headlights. For me, photographic expression is more about how I feel about what I see. Yes, it is often helpful to have a clear primary subject. However, if I had brightened those trees, my image may have have added the visual presence and balance you mentioned, but it also would have changed the point I am trying to express here. As a teacher of photographic expression, I tell my students to compose their images based on what they are trying to express. This image is, as far as I am concerned, a good example of such an approach.
Zane Paxton02-Nov-2006 22:29
Hmmmm......

A point/theory: The more successful images have clear primary subjects.

The white stripe certainly DEMANDS a lot of visual attention, but the road is visually weak in the rest of the image given the low light, so it starts to fade away pretty quickly into the environment. Sure the headlights finally reinforce that there is a road there somewhere in the distance, but the image could be stronger if the road was more apparent as a visual device (classically an S cirve leading into the image, best if it leads TO the primary subject). I would argue that the primary subject is really the skyline/sunset (given that one's eye is drawn to the high contrast areas)and the road is only a secondary visual device. The usual tricks are to use color, light & contrast to reinforce the primary subject... The settlemnt and fall colored trees start to control more attention than the road, so I might have processed to brighten them up a bit more so that they have more visual presense and offer more balance in the image. So the intent of the road perhaps wasn't fully realized here?
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