 Dried winter grasses along barbed wire fence The “Golden Hour” is generally thought of as the first and last hour of sunlight in the day. During this time, the low angle of the sun casts soft, warm sidelighting that gives beautiful definition to a subject while keeping the contrast low and enhancing the rich colours. But during the winter, here at our northern latitudes, that light can last for most of the day.
It’s not uncommon for landscape photographers to pack it in after first light, however another Edmonton photographer whose work I really enjoy, Joel Koop, recently wrote a pair of blog posts (here and here) sharing how he takes on the challenge of mid-day light. I couldn’t agree more with him, and especially at this time of year I love to be outside in the afternoon, looking for just the right patch of light. (I took the photograph above in late November at just before 3 in the afternoon.)
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 Dried Goldenrod leaves with hoar frost Although this photograph was from a little earlier in the season than my last post, it was a similarly frosty, beautiful day. It’s amazing how a lining of frost can add definition and visual interest to an otherwise subdued scene. This is especially true when photographing with the sun behind your subject, the backlighting making the frost shine while the rest of the subject remains shadowed. I also added a fairly heavy vignetting effect while processing this image, to further draw attention to the lines created by the curled, dried goldenrod leaves.
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 Frost covered trees on bright winter day It’s been too long since I last posted a new photograph — my apologies. Here is an image I made recently, on a particularly gorgeous afternoon at the Ministik Lake Game Bird Sanctuary just east of Edmonton. All of the trees, shrubs, and even each blade of grass was bearing a thick covering of frost. The sky was perfectly clear and everything was sparkling — it was beautiful (and cold).
When I was processing this photograph, I used the digital equivalent of the technique of placing a red filter in front of the lens to darken the blue sky. This technique (a favourite of Ansel Adams) adds a dramatic look to the sky and making the brightness of the foreground trees stand out even more.
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 Curves in dried fireweed I know it’s odd to call this post “Dried fireweed detail” when 95% of the photograph is out of focus. For me however, this image captures the essence of the detail — and the depth — of the dried seed pods. The title’s also a bit if a play on words — using “detail” in the sense of a close-up of a portion of a larger work, like when a small section of a painting is enlarged in a book to show a painter’s technique, for example. I really enjoy getting in close to a photographic subject to look for an angle that can capture the greater “whole” of the subject while showing only a small portion.
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 Warm winter colours I took this photograph during a beautiful lunch-time walk through the Whitemud Ravine. Although it was mid-day, because of the season the light was angled low and filtered through a very light haze, giving it a warm tone. It’s unusual to see warm-toned colours much during the winter, but if you catch it just right they can add an interesting mood to an image.
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 Magpie wingprint After a couple centimeters of fresh, powdery snow, I went for a walk at the Strathcona Science Park along the North Saskatchewan River. In one area there were nearly a dozen spots where a magpie had dropped into the snow, leaving these beautiful impressions of its wing tips and long tail — thrown into beautiful detail by the low angle of the sun these days. I couldn’t tell what it was after under the snow, and I didn’t see any other magpie tracks outside of this one small area. If you have ever seen something similar, I’d love to hear you think this bird might have been up to.
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 Tangle of winter branches II Here’s another detail-oriented image taken during our recent spell of grey, overcast winter days. As I mentioned in a previous post, when the light is diffused so evenly by the low, bright stratus clouds that are common over central Alberta in the winter (especially the past few weeks), it’s often these close-up, detail oriented compositions that I find work best.
I don’t commonly convert images to black and white, and even less often do I process them quite as heavily as I have here. While the contrast was fairly strong to begin with, I’ve “crushed” the darks all the way down, and bumped the background sky all the way up, to really emphasize the somewhat abstract pattern of the tangled branches, accentuated by the lining of snow and frost. Perhaps I’ll also post the original version as well, and I would love to hear your comments as to which you prefer.
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(Click photos to enlarge)
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