Bixby Panorama

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Even the middle of the day on the Pacific Coast Highway is breathtaking.  The marine layer has rolled off the water and into the mountains, capping them with a low smoky halo.  The views are breathtaking, and I want to pull off around each new bend, and especially when we get to the Bixby Canyon Bridge, which is but a speck in this panorama.  (A closer shot is included below.)  The Bixby Canyon Bridge has inspired many artists, songwriters, etc.  At one point it was the tallest and longest span bridge in the state of California, and the engineering feats taken to build it were monumental.

This photograph, one of the rare colored ones that I prefer to the monochrome, has always looked more like a painting to me than a photo.  I have gotten closer to where I plan and pose photos with an artistic mind over the course of the last few years, and as such my ratio of purely documentary (read “bad”) photographs to “keepers” has begun to increase significantly.  In many photographs, I am fortunate that I am living in an era of post-processing software.  In the photograph I posted yesterday of the silhouette of a woman, herself taking a picture of the waves, I did not notice her at first when I took the photograph.  She was a happy coincidence, and I focused on her more and more, but I could not capture the essence of the candid photo.  Dumb luck has proven to make some great photographs, at least in my brief career.

For this one, I actually used a tripod – a rarity in my California photos – because I first have to lug it on the plane, and then lug it on my hikes and set it up any time I want to use it.  With an impatient four year old (at the time) this was quite a “do” as Anna’s British cousins would say.  But I had planned the shot for months.  I wanted to capture it from down the coast from the first moment I realized what I was looking at.  These days, I am taking the time to enjoy the artistic act, and not just snapping the shutter and hoping I capture something amazing.  I like the process.

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On Discovering an Artist’s Mind

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Salt lingers on my tongue, the shore in my nostrils, even five years later, and miles removed from the rough-hewn valley, where I tried in vain to compose the essence of the waves, the spirit of the ocean in a single exposure.  My camera pulled at me as we walked gracelessly across the rocks.  That’s where Kemper and I found her, sure-footed above the whitecaps, a small silhouette against a dense layer of mist that settled over the shoreline, whitewashing the coal-black granite.

What does it say that I, myself, framed her body against the foothills, lingering on the shadow-play of her form, as if the roil of the ocean were quotidian; yet her profile swelled in the portrait like a distant odalisque?  What draws me back to her silhouette on that promontory, at that moment–that moment that will never be forgotten, though she may not have know that we were even there.

Point Lobos

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There is something that intrigues me about panoramas.  Ever since I took my first successful one in England years ago, I find myself drawn to them.  Landscapes and nature are my natural tendencies of photographic subjects, but the vastness of them speaks to me, and I always have the urge to zoom out as far as I can, and when that doesn’t work to capture the scene entirely, I lean on panoramas.

This particular panorama captures the “point” in Point Lobos nature reserve in Carmel, California.  As you can see from the left of the picture, the morning layer had not yet burnt off when we went for this hike.  It adds an eerie, almost ethereal feeling to the photograph that simply can’t be manufactured.  The pictures are muted, and perhaps I could’ve done a bit more in post-processing to bring out the vibrancy of the colors.  Nonetheless, the colors are muted as the morning was by the marine layer.  It is a natural touch, and one which I’m happy with.

I often joke that I’m a good photographer, but a great editor.  This is one of those rare photographs where I have done very little to touch it up, instead using Lightroom simply to stitch the pictures together to create the panorama.  I always enjoy the photos that I take, which I don’t have to edit.  They seem in many ways more pure to me, although at the end of the day, all that anyone sees is the finished product and not the raw material.  Nevertheless, I know what has gone into the editing process.  I always feel more like a successful photographer and not a successful editor  when I am able to capture a scene in the camera rather than on the computer.

Hidden Cove

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There are so many coves along the shoreline in Point Lobos State Preserve in Carmel, California, that I am only moderately ashamed that I don’t know the name of this one.  I have posted a picture of China Cove previously, with its colors that defy the natural palette.  In comparison to the China Cove, this one is a bit pedestrian.  If there were no China Cove, however, this unnamed cove very well could be the highlight of the entire shoreline.  This is a testament to the beauty of this part of California.

As I’ve mentioned previously, California brings out a creativity in me that North Florida never has.  I long to go back, and when I am there, I am always conscious that I must leave.  I honestly don’t know if the desire to be in California is simply a desire to be creative at all times, or at the very least to have freedom to be creative.

As I wrote this post, specifically that last paragraph, I thought immediately (as one clearly does it was spent so many years in the Latin classroom) of the Roman poet Gaius Valerius Catullus.  Although many of Catullus’ poems survive in full, some are only excerpts.  One such excerpt, which has been labeled in the modern canon as Carmen LXXXV, is only two lines long but it is powerful in its brevity, its directness, and its meaning: “Odi et amo.  Quare id faciam fortasse requiris / Nescio, sed fieri sentio et excrucior.”

Roughly translated, this means “I hate, and I love; why do I do this perhaps you ask. / I know not why, but I know it happens, and I am tortured by it.”  Although Catullus was speaking about the conflicting feelings he had towards his lover, who he calls Lesbia (her real name was Clodia), and who was the sister of Cicero’s mortal enemy Publius Clodius Pulcher, the second sentence speaks to me in the context of this Cove.  I can’t say why the California air draws out the artist in me, nor can I say why the Florida air does not; but I know it happens, and for the time being, I am (if ever so slightly) tortured by it.

Carmel Bay

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On vacation, I do not keep the same hours I do for work.  So getting up before the sunrise was rare, but since everyone else was still asleep, I decided to leave a note and go for a walk.  I made my way down to Scenic Drive in Carmel-by-the-Sea, California, just as the sun was coming up.  I was born and raised on the East coast, and so to have the sun rise at my back when I looked at the ocean was a new experience.  The marine layer was thick as I made my way down the coastline.  The house at the left of the photograph is the Walker house, designed by Frank Lloyd Wright.  He said that he wanted to design a house “as durable as the rocks and as transparent as the waves.”  He achieved this with his uncanny ability.

I love Carmel, and I feel a special kinship to the place.  I always feel creative out there, surrounded by the beauty.  I understand why Robinson Jeffers called it home, and why so many other artists like Steinbeck were so inspired by this area of California.  If I ever win the lottery (and I have a few eggs in this basket), I will find my way out there for part of the year.  For now, I will look forward to the next visit and the next morning stroll.

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Whitewash

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Please indulge this wizened writer for a brief moment.

I have been a writer since I could hold a pencil.  I did not always blog, but I have done so since 2012, when I was at a previous large law firm, and I was the Florida Banking Law Blog.  I learned a lot over the course of writing those posts, both about content and generally about what readers are seeking when they visit.  The post must be informational and educational, else they will have no reason to visit it, and the post must be at least mildly entertaining, else they will lose interest quickly, and they won’t bother reading the content.

Before I blogged, I was a creative writer and an editor.  I am a published poet, a fairly widely published legal author, and I attended Wake Forest on the Presidential Scholarship for Excellence in creative writing – based upon a novel I had written, which I began when I was sixteen.  In college, I was an editor of a journal, and in law school, I was editor-in-chief of the second largest journal at the school.  As such, I am rightly proud of my writing.  And then along comes Brandi.*

My current firm has decided to enter the blogosphere, and I have taken on the responsibility of creating the website and the lion’s share of the content.  Some of the content is very dry – after all, I am a tax lawyer – but I have striven to engage the reader in even the most esoteric posts.  Some of the posts are downright funny, and they have been incredibly well received by my peers and my shareholders.  And then along came Brandi.*

Without solicitation, a young lady (I think she’s thirteen or fourteen), a lackey at the marketing agency that our firm has chosen to engage, sent me an email at 5:23 last night “editing” and “proofreading” one of my more creative blog posts about the use of testamentary trusts for your animals (think Leona Helmsley or Karl Lagerfield).  I read through the comments, first with bemused apathy, and then with growing vitriol that rose to a veritable boil by the final page.  The white-hot anger washed over me like the surf in the photograph at the beginning of this post, which was taken in Carmel-by-the-Sea, California.

I can be criticized for many things, and often rightly so.  I am overweight, though I have lost eighty pounds since last March.  I am a perfectionist.  I can be untidy.  I can be many things less than the paragon that I strive to be, but when it comes to criticizing my writing, this is an inviolate line that nary a person ever crosses (nor, I must point out, dear reader, would they have reason to).  And then along came Brandi.*

I have calmed down since last night, when I quite literally turned off my computer – physically pressing the power button without logging off or shutting down – with the full knowledge that if left to my own devices, Brandi* would have been the recipient of a wrath-filled dissertation on the error of her ways.  Ultimately, her words will pass like those written on running water, a simile that was first used by the Roman poet Catullus.  One of my fellow associates at the firm left me with these parting words: “Scott, you have too many degrees to worry about what she said.”

I will respond, likely with class and dignity.  I will rise above, likely with great aplomb.  If I see her, I will smack her, likely with my shoe.  The fact that I know that those three sentences contained the rhetorical device tricolon crescens, and the fact that I intended such effect, gives me solace.  I will rest now on my laurels, laugh at her comments, and disregard them like a wave washing over the rocks on a sunny day.

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*Names have been changed to protect the little twerp.

Framed

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Life is a kaleidoscope of perspectives.

I have had many perspectives in my relatively short life.  I have seen the world from the top and from about as low a bottom as anyone could imagine.  I have begged for forgiveness, often undeserved, and I have forgiven.  I have now even seen the world through my own children’s eyes.

Photography allows me to manipulate perspectives, to frame them in ways that you may have never thought to look at a particular scene.  This photograph was taken at Big Talbot Island State Park, just north of Jacksonville, Florida.  It was a hot summer day, and in my infinite foresight, I arrived around noon, just as the sun was reaching its apex in the sky.  The shadows played on the driftwood as it began its slow descent to the West.  I came upon a particularly large live oak (Quercus Virginiana), which had two large branches reaching towards the sky.  One was perfectly vertical, and the other was at about thirty degrees.  I took a number of photographs of the geometry of the branches, but none were particularly aesthetically pleasing.  Although mathematics often make photographs interesting, when it is particularly complex like a fractal in a snail’s shell, when the shapes are so simple, they sometimes do not lend themselves to a pleasing composition.

Determined to use them for a shot, I evaluated what struck me about them.  I zoomed into one of the closer shots I took, which approximately resembled this final photograph, and I loved the contrast between the dark, shadowed wood, and the brightly lit ocean and clear blue sky.  I reframed the photograph, itself a frame, and captured this scene.  The fact that the wave rolled in at the exact right time with a sandy color to complete the triangle was a bonus that I only realized when I was touching the photo up later that day.

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