conditions
When it comes to choosing a location to photograph, I always base my decision on the conditions, not the place itself. I believe that with the right conditions, almost any location can look incredible.
That’s also why I haven’t left San Francisco in nearly 5 months — I didn’t need to go anywhere else. The magic has been right at my doorstep this whole time!
Wildfires are hell. Not only because of the destruction they bring to the wildlife and humans living around it, but also because of the effect of the smoke they produce that can reach lands thousands of miles away.
I've experienced this a few times while living in Portland. Once, we left a window cracked during a smoky day, and came back a few hours later to an apartment covered in ash.
And yet, the apocalyptic and eerie scenes the smoke creates can make for incredible photographs. We've all seen images from New York City this week, affected by the smoke from wildfires happening in Canada. So horrible, yet so incredibly beautiful.
Similarly to fog, the smoke hides whatever is far away from you, while revealing in great detail the objects closer to you. It does have a distinct feel, though: it pollutes the whole landscape. Plus, these conditions happen at times when fog does not usually happen: there's nothing more dramatic than the Sun coming through a thick layer of smoke.
These two images are examples of some work I did in very smoky conditions. The first one was made in the Columbia River Gorge, Oregon, back in 2017, when wildfires in Alberta covered the whole PNW with smoke. The second image was made last year in Riaño, Spain, during a day with very strong calima (sand that is blown away from the Sahara desert, not from wildfires but the exact same effect).
Be cautious if you decide to adventure in these conditions, though: the danger to one's health can't be understated. Wear a good mask, and don't spend too much time outdoors anyway.
My dad is very good at giving unsolicited and brutal feedback. He's got a good eye for negative stuff and is able to find it in almost anything.
"I'm disappointed, I was expecting more"
Those were his words after watching my recent video from Crater Lake. And even though I will never tell him this, I have to agree with him this time: it wasn't my best work by any means.
On one hand, this was due to the conditions: a boring, sunny and clear day. Timing is everything in photography. No matter how many masters of photography you throw at it, if the conditions aren't right, it's not going to work.
On the other hand, it's always possible to create good images. We just need to find what is that shines under the conditions we've got. I did try with the full moon, with some long exposures, with silhouettes. They are not the kind of images one might imagine from a place like Crater Lake, and that might crush other people's expectations.
I've said this dozens of times on this blog and my YouTube channel, but it's worth repeating: you are one click away from your best image ever. What that image is going to be of, you don't know. Stay open and flexible when you visit a location. Have a few images in mind, but if they don't work, be willing to move on and find something else. In many cases, that will be much better than your original idea. It will be, at least, different and original.
Even if that disappoints others.
Making an image on days when everything falls into place -the right conditions, the right place, the right time, the right mood- is easy. Those days hide a big danger, though: when one of those elements is missing, we might think it's not even worth trying to make images.
I love to make images in the fog or even in severe weather conditions, but most days are just sunny, clear, boring. I have a hard time finding the motivation to get out on those days because I know the chances to make a "good image" (an image that fits my style) are very slim.
Those are the most important days, though, because they are the ones that make you a photographer.
First, they show the world as it usually is - in order for us to see the extraordinary we need to sense the ordinary first.
Second, they force you to think out of the box. In a sense, a foggy day is bad news to me because I usually end up creating something similar to what's worked before. A sunny day, though, is unpredictable: unlikely to generate great images, but potentially the spark for new ideas and projects. It was on some of those boring and flat days when most of my ongoing projects were born.
