McClures Beach: A Photographer’s Ode

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Ever since I first saw the raw, primal beauty of McClures Beach I’ve returned countless times with my camera. I’m never disappointed. Sometimes I’ve been fortunate to have captured the raw, relentless power of the Pacific Ocean. At other times I recorded scenes of peaceful timelessness there. For more than thirty years I have photographed the varying moods of my favorite Point Reyes beach.

When I first stepped down from the steep trail that leads to the beach, my eye was drawn to the iconic rocky point several hundred yards to the south. These rocks distinguish the main beach at McClures. I walk toward the point every time I visit there. because I know what lies beyond that rocky dark wall. Ebb Tide, above, was photographed in February, 2003. The Point is seen in the distance.

My first visit to McClures Beach was during the aftermath of a winter storm in 1974. Taken there by a friend, she revealed to me the narrow passageway through the point that leads from the main beach to the “Hidden Beach.”  Two magnificent sea stacks are seen from a steep and narrow crescent beach. I have entitled the cleft in the rocky point The Gateway, shown below. 

The Gateway, McClures Beach – September, 1989

The wind during that first visit to the Hidden Beach was furious, visceral–memorable, as I watched waves crashing, exploding against the rocks. No photos on that day, but what I saw was etched indelibly in my memory. I returned several times over the years when the wind howled, to make photographs that celebrate the power of the sea there. Following are a couple of photographs that capture the awesome force of the sea in the aftermath of winter storms.

Winter Surf, McClures Beach – March, 1991

After the Storm, McClures Beach – February, 1994

I went to the hidden beach through the Gateway at other, more peaceful times.  The photograph, Monolith, graces the jacket cover of my book, Point Reyes 20 Years. It was made during a winter afternoon when a minus tide made it possible to walk behind the squarish sea stack.

Monolith, McClures Beach – January, 1992

Another time, on a calm, clear night in October 2016, I went to the hidden beach to photograph the Milky Way. The following two photographs show the results. The first one shows the two sea stacks with our galaxy overhead. The second image was made before I departed through the rocky point back to the main beach. The multitude of stars seen that night, combined with the peacefulness of the beach was unforgettable.

Monolith, Elephant Rock and Milky Way – October 2016

 

Galaxy at McClures Point: 10/19/2016

There were times that my photo visits to the hidden beach at McClures seemed to be futile due to poor light or weather conditions. During those times I have learned to be patient. In September of 1995 Jean and I walked down to the second beach where the sea stacks are. The light was fading and the view wasn’t particularly photogenic. After pacing around for a while I told Jean I was through and thanked her for her patience. After we passed through the gateway and were about 50 yards beyond the point, I turned back for one last look at where we came from. What a gift, the light from the setting sun burnished the wet sands in front of the rocky point. September Sunset, McClures Beach!

September Sunset, McClures Beach September 1995

Another time after a seemingly uneventful visit to my favorite beach, I was surprised again. I had packed up my camera and was nearly off the beach when I turned for one last look from the uphill trail. Then and there, I saw the last rays of the sun turn the creek into a silver ribbon of light.  Winter Creek reminds me to always pause and look again before leaving a location.

Winter Creek, McClures Beach – February 2003

 

 

Portals: Windows of Light

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Portals on a wooded trail invite us to dream of what lies beyond….
Walking the Green Bridge Trail in Point Reyes has been a revelation. There I practiced letting the photograph come to me. I discovered a multitude of surprising views and vistas by slowing down and looking deeply. Although I do not meditate in the formal manner, my photo walks are a form of deep contemplation. Today’s post reveals some of the windows of light I found along this trail.

See the complete Portals Collection here.

The Green Bridge Trail
For twelve years Jean and I have lived across the street from the Green Bridge Trail, a county preserve in Point Reyes Station. This park is intimate but features ever-changing vistas there. I have been surprised by the dramatic portals I’ve discovered during many walks there. I’ve explored the views during all seasons, at all times of the day. In places, the path detours to creekside views. In spring views of Lagunitas Creek are framed with the radiant life of newly-born foliage.

The Early Trail Views Preserved
When I first walked it, the trail was pleasantly overgrown. This created a feeling of being in a wild, natural sanctuary. These earliest views are presented in my book, One Place Deeply. Lately, though, the simple trails have been obliterated. Wide avenues have been brush-cut through the once narrow path. I feel fortunate to have seen and photographed the earlier, more natural views. The best ones are presented for you in a new online collection, Portals.

At certain times I was surprised to find a portal framing a view beyond. These “windows of light” were delightful and drew me in to photograph them. On some days my customary walk of 20 minutes would stretch into an hour. I photographed the inviting views before moving ahead on the trail. Although I knew what was beyond these openings, it was fun imagining I was about to enter a new and surprising world!

A Chance Encounter
I rarely saw anyone else on my early morning walks. But one time as I composed an image with my camera, a neighbor walked right into my scene! We were both surprised. She asked if I wanted her to back out of my photograph to avoid “spoiling” it.  I thought not. She and her dog added a serendipitous human touch to my work.

 

 

 

What Goes Into a Marty Knapp Fine Art Print?

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I’ve been making photographic artworks for fifty years. During my transition from darkroom silver gelatin printing to today’s digital pigment printing process, I have continued to use the finest materials available and exacting craftsmanship to insure the beauty and longevity of your print.

The Materials: The beauty of the print is paramount. I use the finest pigment inks, papers and matting available to express in  my prints what I saw and felt when I recorded the original image.
Longevity of the Print: I insist that my prints are not only beautifully expressive, but that they will keep their luminous presence without fading or discoloring. The processes and materials that I use guarantee their archival quality.

I started printing in the early 1980s in the classic wet darkroom. The gelatin silver prints I made then were processed using best practices to create luminous prints that would last for generations. The process was fastidious in order to make the finest and most enduring photographic prints possible at that time.

As digital printing became available I waited patiently on the sidelines to see if expressive monochrome prints with the essential archival quality I sought could be produced. In 2010 a friend proved to me that I need not wait any longer. From scans of my original negatives he made several prints on his professional Epson printer. These prints were a revelation. They were truly neutral in color without the objectionable magenta or cyan casts I had seen in earlier inkjet prints. As I looked at these new pigment prints I realized they equaled and in some cases exceeded the quality of the silver prints I had been making!

I was excited and anxious to begin the process of learning the new technology. As I trained myself, I researched to find out what data supported the longevity factor of my new materials. I was pleased to discover that using Epson’s Ultrachrome K3 inks on acid-free fine art cotton papers, the archival quality of the new prints could equal the selenium-toned gelatin silver prints I had made up to then. Armed with the visual experience of the beautiful tonal appearance plus knowledge of the archival qualities, I was all in!

Epson’s K3 Ultrachrome pigment-based inks rely on three levels of black to create the continuous tones we love in our photographs. Trace amounts of color are added to create the slightly warm tones I favor in my prints. There are no brighteners in the cotton papers I use which ensures no fading, yellowing or color shifts that can occur with less expensive paper and ink.

A word to the wise…
I recommend that anyone considering the purchase of any photograph ask the artist what kind of ink and papers are being used. If they can’t verify they are using the highest quality materials or they simply don’t know, be wary! Much of what is being sold as “art” is being produced with lesser materials which can lead to disappointment in the long run as the cherished image fades or discolors with time.

THE NEW PRINTS
Today, after more than 10 years of printing with pigment-imbued inks on the finest paper, I am convinced that the new prints I make today are more beautiful than my original silver prints. The degree of tonal control and the subtle expression of these tones are exciting for me and my collectors. Add to this the assurance that these prints will retain their beauty as they are passed down through several generations and we all win.

MATTING & FRAMING
The same care to the matting and framing of these prints is given as takes place in the actual printing. Once the print is made, it is cured for about 12-24 hours to allow the pigments to settle into the paper’s surface. Next, a mat with a beveled window is cut from acid-free cotton rag matboard. The window is offset a few millimeters to reveal the full composition, the number and signature in the margin. Next, the matted print goes into a black wood frame glazed with Tru-vue Ultraview glass (truly anti-reflective and UV protected glass). A paper back with wire finishes the artwork. The numbered editions are accompanied with a certificate on the back which details size, reference number, title and date the original image was created.

When you select a Marty Knapp photograph, whether it is an intimately presented miniature or a larger dramatic edition for your wall, you can be assured that the finest materials and attention to detail have gone into your artwork. Your photograph will last for generations without losing any of its original beauty. I personally print, mat and frame every photograph that leaves my studio to assure this singular quality.

When the artwork is finished, you will have an enduring piece of beauty that reflects what I saw and felt during the original exposure. Every signed Marty Knapp photograph has been conceived by me and created from my own hands.