I got an email this morning from an urbex group in Scottland called Abandoned Scottland. They asked if I'd be willing to share their new video of an abandoned mansion that they explored. I found it interesting enough, so I decided to share it with you. If you have a few moments, take a look at it.
Monday, May 2, 2016
On the right-hand side of this page under "Popular Posts" you will see the 10 most viewed articles on The Urban Exploration Photography Blog. Some of those posts are great, and some are not--they're simply the most popular.
So what are the 10 best articles published on this blog? You and I might not pick the same posts, but, in my opinion, the top 10 greatest posts on The Urban Exploration Photography Blog are (drum roll, please!):
If you haven't looked at these post, take a moment and click on them. You won't be disappointed! There are tons of other topics that I've written on, so if there is something specific you have in mind, use the "Search This Blog" tool to find out what I've said about it. There's plenty to find if you browse this blog.
Monday, April 25, 2016
|Abandoned Boles-Aero Trailer - Mojave, California|
Captured at 12:20 PM.
Instead of trying to capture a wide seen that includes poor light, move in close and find the spots within the scene that have good light. Instead of photographing the entire building, compose an image using just one of the walls. Instead of photographing the entire landscape, compose an image using just one element (a flower, a leaf, a rock, etc.). Include in your frame only the parts of the scene that contain good light and subtract the parts that have bad light.
|Do Not Disturb - Mojave, California|
Captured at 3:07 PM.
The best way to learn light is to capture a lot of photographs in a lot of different light situations (experiment), and then study the results. What worked? What didn't? Why do you think that you got the results that you did? What could you do better next time? You learn by doing. "Your first 10,000 photographs are your worst," said Henri Cartier-Bresson.
You shouldn't put your camera away when the light doesn't seem good because of the time of day. But you shouldn't settle for crummy pictures, either. This is when you've got to try harder, because the situation is more challenging. Limitations improve art, including light limitations, because they force you to be creative.
Wednesday, April 20, 2016
|On A Brighter Day - Tehachapi, California|
From 1826 through 1900, according to Schwarz, only a few million photographs were captured across the world, but by 1930 about one billion pictures were exposed annually and by 1960 that number increased to three billion. In the 1970's an average of 10 billion photos were captured each year, and that number increased to 25 billion in the 1980's and 57 billion in the 1990's. Beginning in 2000, the number of photographs captured annually across the world spiked steeply, passing 380 billion in 2012. We were expected to surpass one trillion in 2015 (not sure if that happened or not).
I have no idea how anyone knows for sure just how many photographs were captured each year. This seems like an impossible task, and I feel bad for whoever had to come up with the answer. Perhaps that is why a simple statement of "a lot of photos" is the best response.
It used to be that developing and printing photographs required skill and experience in the darkroom. Now software will do the post-processing for you--just pick the "filter" or "preset" you want--and send it off to Costco. The mystery has been removed as photo editing has been opened to the masses.
This is not necessarily bad news. Gear is both better and cheaper than ever. There are things that you can do photographically now that would have been extraordinarily difficult or even impossible just 20 years ago. There are so many more ways to share your photographs with the world than there ever was before.
To stand out from the crowd and get noticed is not easy. It's a seemingly impossible task. But it is possible, and people do it every day. I have some thoughts on how to achieve this.
First, whatever the crowd is doing, that's what you shouldn't be doing--do the opposite. You have to go against the grain. If everyone else is using the same gear, photographing the same subject, doing the same post-processing effect, do not do those things yourself. Find the things that very few, if any, are doing. Do what no one else is doing, think what no one else is thinking.
Second, you have to be creative like mad. There are tons of creative people in the crowd. You need to find ways to up the ante on your own creativity, which is an essential element of photographic vision. You have to make sure that you are the most creative person that you can be.
|Tired Old Purse - Mojave, California|
Finally, to stand out from the crowd, you need to interpret the scene and not just capture it. Most picture-takers are documenting the scene in front of them, but very few are interpreting it. Charles Hawthorne said, "The world is waiting for men with vision--it is not interested in mere pictures." Most people are capturing "mere pictures" and few are capturing interpretations of the world. You must infuse your images with your own unique thoughts and feelings. It's not necessarily about seeing something that hasn't been seen, but thinking differently about what everyone sees.
Mankind has indeed taken a lot of photos, and the vast majority of them are uninteresting. Most are not good at all. Very few speak to the viewer. It is those who can create meaningful photographs that will find success.
Monday, April 18, 2016
|Broken Souls - Newberry Springs, California|
What differentiates a photographer from a snapshooter? The answer is simple: photographic vision.
Actually, it's a bit more complicated than that. Vision is a great starting point, and perhaps it could be boiled down to just that. But it takes a little more, in my opinion. In addition to vision, what differentiates a photographer from a snapshooter is the ability to infuse nonverbal communication into the images. It's creating photographs that speak a message or emotion to others. It's telling a story.
You have to take a scene and figure out what's important and what's not. Then remove everything that's unimportant until only the important remains. It's a little like sculpting. Keep chiseling away everything that doesn't belong.
A snapshooter doesn't do that. They see a scene and capture as much of it as they can. They don't think about it. They don't consider what belongs and what doesn't. They don't try and communicate any message or emotion.
Don't be a snapshooter. Take a moment and figure out what you want your images to speak, then figure out how to create that with the scene in front of you. Being a photographer means being thoughtful and deliberate with your exposures.
Wednesday, April 13, 2016
|Forgotten Utah - Tehachapi, California|
While I love living in central California, and I don't feel that I've even scratched the surface of exploring and photographing abandoned places in the region, it's time for me to move on. Utah will certainly offer plenty of photographic opportunities, and I know that there are many abandoned sites there, as well. I can't wait to find and photograph them!
In the meantime, I appreciate your patience. Thank you for hanging in there despite how quiet it has been. Activity will pick up, but probably not for another month, maybe longer. Between now and then posts will be few and far between. I'll try to get one published each week, but no promises.
Saturday, March 19, 2016
|On A Brighter Day - Tehachapi, California|
George Eastman said, "Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you're worth, and you will know the key to photography."
Most of the light that one captures is reflected light--you are not photographing an object or scene, but the reflected luminosity from that object or scene. Different surfaces reflect light differently, giving various amounts of illumination, or, in black-and-white photography, different shades of grey. A blown out highlight is too much light and a deep black shadow is the absence of light.
A photograph is two-dimensional. What differentiates one thing from another is light, or lack of light, or (more usually) both. It's highlights, shadows, and those in-between tones that make the different shapes and forms within a photograph. In black-and-white photography, if the tones are all the same you won't see a picture, you'll see a grey rectangle.
|Web of Neglect - Mojave, California|
It's possible to photograph something that is quite boring and create a photograph that is very interesting. It requires interesting light. If the light is interesting, the photograph has the potential to be interesting no matter what the subject might be. And if the light is boring, the photograph has a pretty good chance of being a snoozer no matter how interesting the scene might be.
In photography it is more important to find good light than to find good subjects. A fence that no one thinks twice about could make a great photograph if the light is great.
The opposite is also true. A photograph of Yosemite National Park under ordinary light will produce an ordinary photograph. Boring light makes boring photographs.
|The Sound of Silence - Mojave, California|
Your photographs will only be as good as the light that exists when the images are captured. Forget looking for great subjects, look for great light instead! Embrace light. Love light. Know light. And, whatever the subject is, you have the potential to create great images.
Once you understand light, you can go about creating your own light if you'd like. No one says that it has to be natural. You can artificially illuminate a scene. You can add your own illumination to the existing light, or you can use artificial light exclusively. You can make your own great light when it doesn't exist naturally. You have the ability to control it.
Photography isn't so much about seeing what nobody else sees. Instead, it's thinking differently about the things that everyone sees. It's understanding light at an intimate level when others don't. It's showing people what was right in front of them, but they couldn't see because they couldn't read the light.
|Copy Machine - Mojave, California|
Photography is about seeing and thinking. It's not about thoughtless snapshots. It's not about having a certain brand of camera. It's not about placing a watermark on your images. Anyone can do those things, but not everyone can see and think photographically.
Seeing and thinking. That's photographic vision. It's using your creative mind to capture something that only you could create. It's making your own unique interpretation of the scene.
To summarize all of this into a simple and practical application, the next time you are out with your camera, make an extra effort to find interesting light. Forget whether the scene is interesting or not, focus on capturing great light no matter the subject. An ordinary subject can make an extraordinary photograph if the light is right. It's your job to find it.