Moon Photography at Church Hill

04/24/2013 by marty

Catching the moon before the sun goes down

Last night, I went with two other photographers to photograph the moon as it rose above the hills east of the Nicasio village square. In a break from my normal routine, I had agreed to take my students out two full days before the day of the 100% – illumined moon. In the past, it had been my custom to teach the moon workshop just one day before full. Going out a day earlier meant that the moon would clear the tall hills behind St. Mary’s Church before the sunlight disappeared from the foreground. With the small class, I was able to find some time to capture some images of this strikingly photogenic moon and place. Click on the images for enlarged versions.

For those who like to know some of the technical details, I used my Sony Nex-7 with its kit zoom lens (18-55 focal length). Also, because a student needed to borrow my tripod, I did something that I never recommend: I shot hand-held with SteadyShot turned on!

Wetlands Barn Interiors folio released

Last night’s moon photo session was a welcome celebration as I had just finished printing the first signed, numbered copies of my new Wetlands Barn Interiors folio. This 12-print fine art collection had taken up many hours over the last several weeks. There’s special discounting available for you until May 15th, more info, and ordering page at the link above. Also, I’ve put together a free downloadable PDF Folio version for your preview. It too links back to the main folio page. Enjoy!

During the day of the actual full moon, the moon would’ve been hidden behind the hills until well after the sun had set. Going out an evening earlier made all the difference.

Marty Knapp – a film by Logan Kelsey

03/07/2013 by marty

Logan Kelsey short film on Marty Knapp posted
I just got an email from my friend, Logan Kelsey, telling me he posted the film he made of me photographing Point Reyes. I hope you enjoy this nearly 4-minute-long journey as Logan uses his photographic art to masterfully show how I create mine:

A Personal, Creative Project
This January, Logan Kelsey, a San Francisco Bay area film editor and director, visited me at my gallery to ask if he could make a short film about me. He told me it would be a personal project, one that would mean much to him because of his deep connection to Point Reyes and my photography of this place. Logan, who now lives in Mill Valley, had lived in Point Reyes for several years when he was a young boy, and as he later told me, his most cherished memories came from those years. How could I resist?

The timing was perfect for me, as things had slowed down at the studio after the holidays. and the idea was fascinating. He explained we would get together several times including a sit-down at my studio where he would interview me, and then a few times at landscape locations which I had previously photographed, so he could film me at work.

A Surprising Coincidence
As we worked together, traveling to and from several iconic Point Reyes locations, we became friends. The experience was enriching for both of us. While driving back from Drakes Bay, Logan told me about some of his memories of living in Inverness. We took a little detour so he could drive past his childhood home. As we turned off the main road, my own memories were sparked. I had also lived on this street myself, very long ago. He slowed down, and, as I looked up at the house where I had lived, he pulled over and pointed toward the very same house. “There it is!” We were both speechless. At different times, both his family and mine had lived in the same house! We both have cherished memories of living here.

I told Logan that while living there, I had made what I considered to be my first truly good photograph. Inverness Porch, was captured on a Saturday morning in 1974 from my kitchen doorway. The fact that my creative photography had begun, there, at this house we both knew so well, became a touchstone. I believe this is reflected in the intimate quality and mood of Logan’s filming of me. The music, composed and scored by Dexter Britain, melds perfectly with the flow of images and narration. I couldn’t be more thrilled.

About Logan Kelsey
I learned that Logan not only cares deeply about the quality of his work, but that he is passionate about the people he works with whose creative efforts strike a chord with him. He lately has been working with smaller creative businesses, making films that help establish the brand for these companies. This current work balances the rigors of his ongoing film and editing work with larger, household name corporations. You can learn more about Logan and his company, Vertical Online when you go to his blog about the making of the film here:
Logan Kelsey’s blog about Marty Knapp film

Scenes in the film
Logan’s film begins and ends on the rocky bluffs that form the headlands near Chimney Rock. If you look closely, near the end (3:05), you’ll see a congregation of Sea Lions on the beach below. They barked continuously, amusing us with their animated conversation, as Logan and I worked on the wind-swept bluffs high above them.

Here’s a list of some of the other scenes you’ll find in the film:

0:26 Horseman 985 View Camera, my only film camera used between 1998 – 2011 0:35 Family album, Marty childhood through high school portraits
0:54 The Great Beach, Point Reyes
1:01 Tomales Bay scenes
1:07 Point Reyes Lighthouse
1:22 Album – Point Reyes friends, 1970s
1:30 Marty & Jean family photos
1:38 Wetlands Barn near Knapp family home
1:45 Drakes Beach
2:00 Various Marty Knapp black & white landscape photographs
2:59 Chimney Rock
3:05 Sea Lions

Photo Tips: Getting an Angle on the Sun

02/20/2013 by marty

On Sunday, I was at my gallery, working on the essay you’re reading now. A visitor came in. He looked at the photographs surrounding him, and then turned toward me. Smiling, he said, “It’s all about the light, isn’t it?” I felt he was reading my mind, and agreed, “Exactly… nothing is more important… You know, I was just writing about that.” When he left, I reflected on just how essential the sun’s angle is to the effectiveness of our photographs.

The challenge we have is how to portray our 3-dimensional world with a 2-dimensional medium. Blessed with two eyes we have true stereoscopic, 3-D vision. The camera records all with just one eye and so we must help it by using light to our advantage. To help create the feeling of depth, you must adjust the direction you point your camera in relationship to the angle of the sun on your subject. By picking an effective angle, you’ll include the all-important shadows needed to create a sense of depth in your image. Position your camera toward your subject so that sun is either cross-lighting or back-lighting it. Then, textures will be revealed and depth will become apparent. Without shadows, visual separators and indicators of the light’s direction, you’re left with flat, unexciting photographs.

Next time you’re thinking of making a photograph, make sure the sun is NOT directly behind you. Flood light where your own shadow points at your subject is the worse light to render your subject dimensionally. I have many photos to prove this, mostly ones my dad took of the family where we all are squinting toward the camera (and the sun!), our faces, flattened moons of light. By the way, this is as true for the landscape as it is for people or objects.

If you can’t position your camera and the sun with a favorable cross or backlight to the object or landscape of your desire, than consider coming back at a different hour and/or season. When I’m confronted with disappointing light on my intended subject I look around to see what else is being beautifully lit. I photograph that. I call this “taking what is given.” Believe me, your photographs will start looking a lot better if you pay attention to where the good light is coming from. Later at your computer you’ll have far fewer images to delete.

Below are three photographs I made of my wife Jean and our dog Lily. Each is labelled according to the sun angle chosen when I made the image. Pay close attention not only to my main subjects, but also to the grass and backgrounds which are also being effected by the lighting. I use these images in my workshops to help photographers understand and see the effects that the sun angle can have their own photographs. I think you’ll notice dramatic differences in the dimensionality of the different approaches.

I coach individuals and teach small group classes how to recognize and use light to make more expressive photographs. I’ve just announced several half-day classes taking place on Saturday afternoons in Point Reyes. Sign up or read more about these here:
Saturday Photo Walk with Review