2021 REFLECTIONS

Some photographers create “Best of” wrap-up posts at the end of each year and this year, I decided to join the tradition. It wasn’t a simple task – I couldn’t begin to decide which are the best photos I made this year. What’s more subjective than one’s own opinions about one’s work? Mired in indecision, I persevered and finally chose to post a collection of images from 2021 that 1) appeal to me and 2) represent the scope of the year. Many of these were posted earlier this year, a few were not.

1. Bowman Bay, Deception Pass State Park, Washington; May 12th. This year I spent lots of time studying the beach at low tide.

Reviewing the year’s work got me thinking about what I do here on WordPress. I don’t post individual images, though many photographers I admire do. There’s a lot to be said for posting single images; the viewer’s attention is fully centered on one photograph, with no distractions. But I like to create posts that can be experienced more like a short story or a film short focused on a particular theme. Often my subject is the observations I glean on a local walk but increasingly I’m drawn to concept pieces with images and text. The interplay of ideas and images intrigues me and the challenge of balancing text and photograph so neither detracts from the other keeps me engaged.

Because I spend a lot of time constructing these visual narratives, I tend to see and think about my photos in groups. How they relate can be more important than how they stand alone. Typically some photographs are like main characters, moving an idea forward, while others play supporting roles. I enjoy the flow that a series of images can create as the photographs “speak” to one another through qualities like color, tone, subject, scale, etc. Composing a “Best of 2021” series is challenging because there isn’t one idea or one place to represent – over the course of twelve months, there have been many ideas and (in a year of limited travel) at least several locations. Some cohesion is lent to the group by the fact that primarily, I photograph nature. Hopefully, a personal style also lends some consistency.

2. Deception Pass State Park; April 16th. In the spring I immersed myself in local wildflowers. It’s always my happiest time of year.
3. Snug Harbor Botanical Garden, Staten Island, NY; May 24th. During a trip to Massachusetts and New York, we visited several parks and gardens. Garden photography was my favorite thing to do when I lived in New York.

As I looked back over the year, I realized that it’s been a year of gear changes. During the first six weeks of 2021 I was using the camera and lenses that I had grown accustomed to for five years. Holding that camera was as familiar as holding a pencil – it even had nice wear marks on the grip. Then the unthinkable happened: the camera died. There was no fixing it. I could replace it but it was an older model so it made sense to research newer iterations of that camera. That led me to consider other cameras that take the same lenses. At least I didn’t allow myself to be tempted to switch to an entirely new system!

For about a month I wavered. I had a backup camera to use while I thought about which camera to buy. In March, I made a decision to buy an Olympus Pen-F, a slightly smaller, lighter camera than the one that broke, which was an EM-1. Smaller and lighter is a good thing and the elegant-looking Pen-F has a special way with black and white, which interests me. But I was constantly comparing it to my old camera. Small things like the feel of the on/off button bothered me; a bigger issue was that the camera is not weather resistant. Lovely as it is, the camera wasn’t quite right. In June, I ordered the newest version of the one that died, the EM-1 Mark III. (I am not made of money but I rationalized two camera purchases by the fact that I spent little money on travel for the last two years). The Mark III is weather-resistant, has excellent image stabilization, and offers a host of features that I haven’t even tried yet. The buttons and levers feel right. The ergonomics are good, too, and it’s smaller than most comparable cameras but it weighs more than I’d like. Nothing’s perfect.

After nine months, it still feels a little new to my hands and I’m a long way from being comfortably familiar with all its ins and outs. What I’ve realized this year is that a camera you’re used to is one you don’t think twice about, which allows you to concentrate on being creative with your little black box. Instead, I’ve spent a lot of time behind the camera thinking about technique. Of course, that isn’t all bad but I’m eager for this camera to be so familiar that I never pause to think about which button is where or how to quickly find a setting. I want it to be an extension of my hand in service of my vision and that’s going to take a while.

In the meantime I know I’m lucky to have a good camera that I can use anytime I want. What’s more, I’m grateful for the community of creative people with whom I share my work. Thank you for being here and thank you for all that you do – you keep me going more than you know.

4. Anacortes, Washington; February 13th. My favorite local bookstore and cafe put a positive pandemic message in their window: “We are in This Together.”
5. Bowman Bay; May 12th. Another low tide discovery.
6. Goose Rock, Deception Pass State Park; March 1st. Madrone tree bark study. I’ve been photographing these trees for almost ten years.
7. David Zwirner Gallery, New York City, New York; May 21st. Sculpture by Carol Bove. Her monumental steel sculptures were a delight to photograph.
8. Volunteer Park Conservatory, Seattle, Washington; November 17th. I was excited to find smudged, foggy windows at the conservatory. This is part of a series I call “Through” that I began over ten years ago.
9. Heart Lake, Anacortes, Washington; May 15th. I photographed Fawn lilies in bloom from mid-March through mid-May.
10. Little Cranberry Lake, Fidalgo Island, Washington; November 26th. This lake is often still and glassy, with nice reflections. The photo was made with an iPhone.
11. The San Juan Islands and Rosario Strait from Sugarloaf, Fidalgo Island; April 10th. Sugarloaf is a favorite destination for wildflowers in spring and views anytime.
12. Along March Point Road, Fidalgo Island; January 17th. Grasses, with their linearity and repeating shapes, are some of my favorite subjects. Home to two oil refineries, March point also has nesting eagles, a major Great Blue heron rookery with over 600 nests, and a flock of American white pelicans in the summer.
13. Heart Lake, Anacortes; July 14th. The diminutive, delicate Rein orchids (Platanthera sp.) have fascinated me ever since I began finding them tucked in out-of-the-way places all over the island.
14. Bridge Gardens, Bridgehampton, New York; May 25th. A high point of the trip to New York was meeting photographer John Todaro, who introduced me to this out-of-the-way garden on Long Island.
15. Washington Park, Fidalgo Island; February 5th. A dead juniper is hung up among Douglas fir trees but one day maybe it will fall into the water. Seaside junipers have become another favorite subject since I moved here in 2018.
16. Cornet Bay, Deception Pass State Park; July 11th. Massive logs are strewn about on many Pacific Northwest shorelines – at the ocean and all through Puget Sound. Often surrounded by detritus, they can be challenging to photograph.
17. Bowman Bay; December 3rd.
18. Ancient Lakes, Quincy, Washington; April 1st. We met friends here in the desert in eastern Washington. The scenery is strikingly different from western Washington, where I live.
19. Queens, New York; May 21st. A commuter wearing a mask waits for a train to Manhattan at the Long Island Railroad Jamaica station.
20. Bowman Bay again; November 3rd.

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SOLSTICE

Snow falls

on the mountains,

paperwhites

at my window.

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Abundant rainfall in the lowlands, deep snow in the mountains. Next year Mt. Baker will release its white coat as river water, nourishing all creatures and plants in the river delta before merging with the Salish Sea. The paperwhites (Narcissus papyraceous) will fade long before then. I will plant them outside. Maybe they will bloom again, maybe not. Cycles of life.

Happy Holidays to Everyone

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COLOR IMMERSION: Pantone’s Color of the Year for 2022

Two photo friends posted this week about the 2022 Pantone Color of the Year and, inspired by Mark Graf and Alex Kunz, I decided to join in. Another photo friend, Linda Graschoff, has just added six beautiful photos inspired by the color of the year to her latest post. At this time of year, I can really use a good dose of color! Pantone is an American company specializing in color for designers, manufacturers, and printers, among others. The company is known for its systems of color swatches that enable industries to produce precisely defined, standardized colors. For example, a country can clearly specify the shade of red on its flag or a textile designer can communicate how a color palette will look when applied to a line of clothing or an interior.

Pantone also has a Color Institute that forecasts color trends and advises companies on ways to use color to support their brands. Each year since 2000 they have announced and promoted a ‘Color of the Year’ that supposedly reflects the current state of the world, the zeitgeist. The color for 2019 was ‘Living Coral,’ a warm, convivial coral color. That was before COVID 19 – I can’t imagine coral being appropriate for this year. In fact, for 2021, two colors were announced – ‘Ultimate Gray’ and ‘Illuminating,’ a bright yellow. The idea was that people need hope (yellow) but want a firm foundation (gray) in uncertain times. Skeptics can say it’s all just blatant consumerism and I’m not running out to buy the color of the year to paint my house, but I find it interesting to look at how these trends reflect the psychology of our times.

My introduction to Pantone colors was way back in 1967 when I got my first set of Pantone color swatches as a student at Parsons School of Design in New York. We were given assignments that involved combining different Pantone colors to illustrate color design principles. I have a clear memory of the weight, texture, and opacity of the chunky little “book” of color swatches and the individual sheets of Pantone paper we used for projects. The paper felt almost like someone painted color onto each sheet. It was visceral, working with those papers, and visceral reactions to color can be very pleasant.

1. This beautiful iris sports a color very close to the 2022 Pantone Color of the Year. Seen at Kubota Gardens in Seattle, it might be Iris ensata ‘Variegata.’

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Next year’s Pantone Color of the Year was just announced: “Very Peri” is its name and 17-3938 is its number. You’re forgiven if that doesn’t tell you much! You can see it here, on Pantone’s website, where you can also buy a mug or a keychain in Very Peri. To me, it’s a medium blue with enough red to push it slightly toward purple. Like in 2021, Pantone’s color choice seems to reflect the prevailing uncertainty of our world, this time with the thought that we all need courage and creativity. Pantone says, “Encompassing the qualities of the blues, yet at the same time possessing a violet-red undertone, PANTONE 17-3938 Very Peri displays a spritely, joyous attitude and dynamic presence that encourages courageous creativity and imaginative expression.”

Intrigued by the Very Periesque (Very Perish? No!) images that Mark Graf and Alex Kunz found in their archives, I scrolled through files going back ten years and came up with a bouquet of images that move in and out and around the color of the year, Very Peri. Enjoy!

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2. Iris laevigata ‘Variegata’ at Bellevue Botanical Garden, Bellevue, Washington.
3. Another iris – either Iris sibirica ‘Blue King’ or I. sibirica ‘Ahrtalwein. Also seen at Bellevue Botanical Garden.
4. Anemone coronaria in a window box on a sidewalk in Edison, Washington.
5. Another sidewalk flowerbox, this time with pansies, somewhere in New Jersey.
6. These Periwinkle flowers (Vinca minor) were growing wild under a building in the ghost town of Helena, California. This could be where the name Very Peri came from.

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8. A Pasque flower (Pulsatilla vulgaris) at Bellevue Botanical Garden.
9. Delphiniums are pushed against a thick plastic sheet that’s used to keep out the cold at the flower market at Pike Place Market in Seattle, Washington.
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13. Wild Common camas (Camassia quamash) with Death camas (Toxicoscordion venenosum) and buttercups in a meadow at Washington Park,
14. Serbian bellflower (Campanula poscharskyana) growing with an unidentified tree at Center for Urban Horticulture, Seattle, Washington.
15. This photo was made in 2004 with my first digital camera, a Sony Mavica. I dug this little Glory-of-the-Snow (Chionodoxa lucilaea) from the lawn in front of my house so it wouldn’t be destroyed when the grass was mowed.

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Feel free to join in and post your own interpretation of the 2022 Color of the Year. I’d love to see it.

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LOCAL WALKS: Shifting Edges

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The idea that more action occurs along edges came up in a book of fiction I read about thirty years ago. I don’t remember the book’s title or author, or how the idea was developed. The story involved a man who kept noticing that there was more activity on the edges of things than in the middle. This idea really interested me. It made sense. I knew that ecologically, places where one habitat meets another – where a forest meets a field or where land meets water – are places where you can expect more activity, and often, more species diversity. That’s a generalization of course, but it fits my own experience. On a ship far out in the ocean, I saw few living beings – a few flying fish, a single gull – but on shorelines, I see many different life forms. Deep in the middle of a forest, it can get very quiet but on the edge of the woods, movement and variety predominate.

Edges are places where one thing turns into another, where states of being merge, mingle and mix. You could say edges are the primal dialectic. How about the trajectory of a person’s life? Transitions between life stages can be times of great turbulence; the middle periods may be less eventful. Certainly, in our imaginations edges are important – we fear dropping off the edge of the earth; we admire the edginess of current culture; we walk the razor-edge in dangerous times.

Photographer Brooks Jensen relates a conversation with another photographer who advised, “Watch out for the edges. Wherever there’s an edge, there’s energy. That’s what you want to be photographing.” Jensen expanded on the concept to include psychological edges, “where anger meets compassion, where compassion meets sorrow.” (Brooks Jensen; ‘Single Exposures’, 2008).

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My favorite ecological edge took a beating recently. What had been a fairly clear border between land and water was battered by strong winds associated with an “atmospheric river” – the same one that brought flooding, landslides, and destruction to our Canadian neighbors. Massive driftwood logs were tossed high up onto the beach, obliterating a trail and crushing vegetation. Tangled piles of Bullwhip kelp (a seaweed that can grow to 100′ long) were deposited at the bases of trees whose roots were exposed to the elements from erosion. Two small wetlands were breached: in one, a green haze lay on the surface of the water. Did it come from the bay or was it dredged from the wetland itself? I don’t know. In the other wetland, strands of Bullwhip kelp and driftwood logs floated where normally the water is clear.

This particular edge was muddled beyond belief.

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It was hard to look at. Giant-stepping over logs and ducking under a tree that fell across a trail, I told myself, “This is nature. This is what happens. It’s not a carefully tended garden.” Despite my rational explanations, it hurt to see this precious place turned upside down and inside out. I took only a few photos that day.

But I went back – of course I went back! – and things were different. I can’t say exactly why – something shifted and I found the beauty again, even amidst the destruction. A little sunlight didn’t hurt.

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5. Strands of Bullwhip kelp and a driftwood log now litter the wetland. In the lower-left corner, you can see rocks from the beach that were pushed into the wetland.
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10. The view from a hill between the two beaches and wetlands.
11. Piles of Bullwhip kelp and driftwood logs landed on the beach. The wetland in #5 can be glimpsed in the middle of the photo.
12. The wetland edge with Madrone trees leaning precariously over the water. The views in #1, #2 & #5 are to the right, beyond the frame.

13. A Douglas maple leaf (Acer glabrum var. douglasii) on the forest floor after a rainy morning.

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More about the lichens seen above: The green leafy-looking structures are probably Peltigera brittanica. Lichens are composite organisms; P. brittanica includes a fungus, a green alga, and a cyanobacteria. The dark dots on the green surfaces are the cyanobacteria.

The darker leafy-looking structures are another Peltigera, probably P. neopolydactyla or P. membranacea. The red-orange tips on them are spore-bearing structures called apothecia. Unlike ferns, which also have spores, these lichens can reproduce vegetatively, by breakage or by producing propagules that contain fungal tissue and green algal cells. Talk about living on the edge – lichens appear to live on the edge of comprehension! Scientists are continually revising our understanding of lichens, so what I’ve written here could change at any time.

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A philosopher’s musings about edges:

“What I have called the edge-world is not only a world composed of intricate patterns and permutations of edges; it is also a world that is itself on edge. As a consequence, each of us is pitched on a thousand edges—edges on which we shake and tremble even as we pretend to go about our lives undisturbed. Our equanimity is only skin-deep; underneath it the abysses gape open, not just at the far edge of the known world or at the base of a precipice. We are denizens of a world on edge, and we are ourselves creatures of exposed edges. This is not just a matter of being accident-prone or vulnerable as individuals. We carry risk to others, endangering their lives as well as our own. Whole populations of human beings have been decimated by their fellow humans. Many animal and bird species have been rendered extinct because of human actions in the Anthropocene. Now we are on the verge of making ourselves extinct if humanly induced climate change takes its full vengeance. There is no way to exist on earth, no alternative path, other than to follow the edges that guide us even as they expose us to risk at every turn. We must take such exposure into account, learning how to identify those edges that are likely to lead us astray: each of us exists on a perpetual visual cliff. Some edges bring us to an unwelcome fate for which we are not adequately prepared: on these I have focused in this epilogue. Instead of trying to forget them or merely regret them, we must think on them, reflecting on what they portend. Becoming wary of certain edges, we can come to trust other edges that will configure our life-worlds in ways that are both more constructive and more creative. These more auspicious edges point the way for us, incisively even if not infallibly. Thoughtfully traversed, they are able to liberate us, indicating directions with the potential to save us from our own destructive and self-destructive ventures”

Edward S. Casey: The World on Edge. Indiana University Press, 2017.

from Phenomenological Reviews

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