Art from the Gardentag:blogs.phillynews.com,2008:/inquirer/artfromgarden/432007-11-19T17:31:37ZStraight talk about photographing natureMovable Type 3.35floating leaftag:blogs.phillynews.com,2007:/inquirer/artfromgarden//43.43382007-11-19T17:26:58Z2007-11-19T17:31:37ZI’ve shot lots of changing leaves this fall but there was something very serene about this one taken along the Schuylkill River floating in a rock....Ron Tarverwww.philly.com
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Variations on a Chester County Treetag:blogs.phillynews.com,2007:/inquirer/artfromgarden//43.35532007-10-02T15:33:58Z2007-10-11T13:35:53ZI've passed by this tree several times over the years located just off Rt. 82 near Unionville but never stopped to photograph it. I'm not sure what type of tree it is but I think it creates a beautiful scene....Ron Tarverwww.philly.com]]>
Tools to Die Fortag:blogs.phillynews.com,2007:/inquirer/artfromgarden//43.32782007-09-15T13:57:33Z2007-09-16T02:05:25ZTo steal a few lines from singer Rick Nelson- I went t to a garden party and while I didn’t find Johnny B. Goode hiding in the closet I did find some appealing items to photograph. Actually the garden party...Ron Tarverwww.philly.com
A hand hoe for lefties - it’s been my curse since birth.
This is the way every shovel should look. The simple design makes it all the more elegant.
This hand tiller looked like something out of a horror movie.
According to Good, this children’s wheelbarrow is highly collectable and hard to find.
It was one of only two available on the Internet at the time she was looking.
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The Queen's Lacetag:blogs.phillynews.com,2007:/inquirer/artfromgarden//43.28682007-08-14T21:33:51Z2007-08-14T21:55:48ZYou see them growing along side the road, in empty lots, and just about anywhere nothing else will grow. They look like small white galaxies spinning on a thread. It is Queen Anne’s Lace; also known as wild carrot, or...Ron Tarverwww.philly.com
All are photographed with a Nikon 35-70 macro lense in macro mode. Hand held with an f/stop around 2.8 at 1/125 sec.]]>
Images at Twilighttag:blogs.phillynews.com,2007:/inquirer/artfromgarden//43.22682007-07-02T14:58:07Z2007-07-02T22:46:56ZNow that we’ve passed the summer solstice and the days are getting shorter, why not take advantage of the many late sunsets remaining. That magic period between 8 and 9 pm can produce some provocative images. All the images below...Ron Tarverwww.philly.com
Wilted Leaf 1/8 sec. at f/2.8
Garlic Heads 1/2 sec at f/2.8
Coreopsis 3/4 sec at f/ 2.8
Tomato Plant 3/4 sec af f/2.8
St. Francis 1 sec. at f/2.8
Full Moon through Locust Tree 1sec. at f/2.8]]>
Deceits and Fantasiestag:blogs.phillynews.com,2007:/inquirer/artfromgarden//43.21502007-06-23T18:31:17Z2007-07-03T21:44:36ZIf you’re inclined to think that the garden is a quiet content place to kick up your heels and dream away the day, take a look at Linda Hackett’s photograph, Allum giganteum, on display at the Delaware Art Museum in...Ron Tarverwww.philly.com
Then there’s British artist Marc Quinn’s floralscape with its garish colors and depictions of perfect--albeit frozen--flowers. Quinn can’t really be defined exclusively as a photographer. One of his most notable works is a frozen bust of himself - made from his own blood. He used a similar technique to create Italian Landscape #3 in which he arranged flowers that otherwise would never be found together in nature, then froze them with liquid nitrogen, thus preserving their brilliant colors, at least until the machinery that kept them that way is turned off.
His image reminds us of a pre-911 world where beauty was only skin deep and technology was the salvation of all of our problems. But before you invest in a cryogenic machine, consider one of Sally Mann’s ghostly images from Las Pozas, Mexico- - all created with a broken lens attached to her view camera.
By contrast, Lynn Geesaman’s work shows a world in perfect order. The human touch is all too obvious in her landscapes of meticulously quaffed topiary. In her image, Hedge, Knightshayes Court, Devon, England, the world is in symmetry. Everything is balanced. Look very closely at the image and you’ll see extreme detail in a seemingly hazy print. She manipulates sharply focused negatives in the darkroom to give her work a 19th century quality.
Garden photography as subject matter for art photographers waned after the photo secession movement in the early 20th century, but had resurgence in the 1980’s and 90’s. Partly, according to Heather Campbell Coyle, associate curator of the Delaware Art Museum, when artists began to react to the environmental movement.
“Because gardens are works of art, designed with their own vistas and points of interest, it’s surprisingly difficult to take an interesting photograph of a garden—to create something evocative or atmospheric that goes beyond replicating the garden itself,” said Coyle. “These photographers have produced striking images that honor the beauty of their garden subjects, while creating something independent of them.”
The museum is offering a second exhibition entitled " The Cultivated Eye—Brandywine Valley Photographers," featuring the works of artists from the region including Alida Fish, Lisa Tyson Ennis, and Jim Graham. On display through October 21, the 39 works in this show display a wide range of responses to the natural world and a variety of approaches to the medium of photography.
Combined, the shows bring together some of the most visionary local, national, and international artists to redefine the garden in surprising ways. These are must see exhibitions for anyone interested in photography,and those willing to be shocked a bit by what lies beyond their petunias. ]]>
Gadgets From the Wonder Boxtag:blogs.phillynews.com,2007:/inquirer/artfromgarden//43.20692007-06-16T13:16:48Z2007-06-16T13:57:23ZNo photographer worth a grain of sodium sulfite doesn’t have a box of long forgotten photo trinkets tucked away in an unvisited corner of the basement. You know the stuff: assorted lens caps, a filter that promised to make your...Ron Tarverwww.philly.com
e-bay for around $5.00. With my dreams of some fast cash dissolved, I decided to see if it would work with any of my lenses. Amazingly enough, it fit perfectly on the barrel of my ancient 55 macro lens. The combination of the two made possible wonderful extreme close-ups the lens alone could not produce.
Luckily, for the last few weeks the Mountain Laurel bush in the front of my house has put on an amazing display of softball sized clusters of tiny white flowers, with each flower measuring around an inch. When they started to fall they looked like hundreds of shrunken sombreros scattered along the sidewalk. They are all turning brown now,but even in their decay there is a beauty, and they made perfect specimens for my newly found equipment.
Its funny in this age of high-priced and complicated do-dads that there are cheap and simple alternatives. Maybe you should go box- diving in your basement. You never know what you might find.
Here are a few of the images made with the attachment, along with a photo of the set-up.
All the images were backlit using a light box. As a general rule of thumb for macro photography, it’s best to use the smallest aperture possible for sharpness and detail. Doing so will require a longer shutter. If the shutter goes below 1/60 of a second it’s best to use a tripod. But I wanted a more ethereal effect so I shot it at f/3.5, the largest aperture on my macro, which provided almost no depth of field. I’m not sure what effect the lens attachment has on the lens concerning reductions in aperture. In the old days, with film, this was critical information. But now I use the digital display to view the image. When it looks right I go with it. The final settings for this images is F/3.5 at 1 second.
I pulled off one flower and found a wonderful star shaped pattern left from the stem. This shot was made by over exposing about 2 stops at f/22 at ½ second.
I made several shots of fresh flowers but found this photograph of a withering flower more poignant. The setting was f/22 at 1.5 seconds.
Finally, the lens attachment pulled into detail the tiny stamens of this flower. Each stamen was less that 1/8 inch with an exposure of f/22 at 2 sec. A tripod and camera release cable was crucial in making this image.
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Welcome to the Blogtag:blogs.phillynews.com,2007:/inquirer/artfromgarden//43.18942007-06-06T19:16:32Z2007-06-06T20:56:27ZFirst let me define the word “garden.” It’s planet Earth. Well, maybe that’s a little too broad. Let’s say it’s anywhere that something is growing or has grown or will grow. Also anything living or dead that sprang forth from...Ron Tarverwww.philly.com]]>
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This is the way every shovel should look. The simple design makes it all the more elegant.
This hand tiller looked like something out of a horror movie.
According to Good, this children’s wheelbarrow is highly collectable and hard to find.
It was one of only two available on the Internet at the time she was looking.
]]>
All are photographed with a Nikon 35-70 macro lense in macro mode. Hand held with an f/stop around 2.8 at 1/125 sec.]]>
Garlic Heads 1/2 sec at f/2.8
Coreopsis 3/4 sec at f/ 2.8
Tomato Plant 3/4 sec af f/2.8
St. Francis 1 sec. at f/2.8
Full Moon through Locust Tree 1sec. at f/2.8]]>
His image reminds us of a pre-911 world where beauty was only skin deep and technology was the salvation of all of our problems. But before you invest in a cryogenic machine, consider one of Sally Mann’s ghostly images from Las Pozas, Mexico- - all created with a broken lens attached to her view camera.
By contrast, Lynn Geesaman’s work shows a world in perfect order. The human touch is all too obvious in her landscapes of meticulously quaffed topiary. In her image, Hedge, Knightshayes Court, Devon, England, the world is in symmetry. Everything is balanced. Look very closely at the image and you’ll see extreme detail in a seemingly hazy print. She manipulates sharply focused negatives in the darkroom to give her work a 19th century quality.
Garden photography as subject matter for art photographers waned after the photo secession movement in the early 20th century, but had resurgence in the 1980’s and 90’s. Partly, according to Heather Campbell Coyle, associate curator of the Delaware Art Museum, when artists began to react to the environmental movement.
“Because gardens are works of art, designed with their own vistas and points of interest, it’s surprisingly difficult to take an interesting photograph of a garden—to create something evocative or atmospheric that goes beyond replicating the garden itself,” said Coyle. “These photographers have produced striking images that honor the beauty of their garden subjects, while creating something independent of them.”
The museum is offering a second exhibition entitled " The Cultivated Eye—Brandywine Valley Photographers," featuring the works of artists from the region including Alida Fish, Lisa Tyson Ennis, and Jim Graham. On display through October 21, the 39 works in this show display a wide range of responses to the natural world and a variety of approaches to the medium of photography.
Combined, the shows bring together some of the most visionary local, national, and international artists to redefine the garden in surprising ways. These are must see exhibitions for anyone interested in photography,and those willing to be shocked a bit by what lies beyond their petunias. ]]>
All the images were backlit using a light box. As a general rule of thumb for macro photography, it’s best to use the smallest aperture possible for sharpness and detail. Doing so will require a longer shutter. If the shutter goes below 1/60 of a second it’s best to use a tripod. But I wanted a more ethereal effect so I shot it at f/3.5, the largest aperture on my macro, which provided almost no depth of field. I’m not sure what effect the lens attachment has on the lens concerning reductions in aperture. In the old days, with film, this was critical information. But now I use the digital display to view the image. When it looks right I go with it. The final settings for this images is F/3.5 at 1 second.
I pulled off one flower and found a wonderful star shaped pattern left from the stem. This shot was made by over exposing about 2 stops at f/22 at ½ second.
I made several shots of fresh flowers but found this photograph of a withering flower more poignant. The setting was f/22 at 1.5 seconds.
Finally, the lens attachment pulled into detail the tiny stamens of this flower. Each stamen was less that 1/8 inch with an exposure of f/22 at 2 sec. A tripod and camera release cable was crucial in making this image.
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