SUB COLLECTION FRAMED - lightsongfineart

Massachusetts is my home state. There are advantages to working from home when photographing landscapes.

Early in my photographing (mi-1970s) I traveled wet to Colorado, Utah, New Mexico, Arizona. I remember vividly the magnifisence of Brice Canyon and how familiar it looked although I had never been there before. I tried to make an image different from what I had seen in books, and I failed. Later I saw some wonderful images made just after a snow storm. You either had to be lucky or you had to live there and visit often. Slowly It dawned on me that even a two week stint was not enough. Perhaps a hundred visits would do it, and a year of living there would not suffice. It might be the wrong year.

Most of the photographs you see here were made in the early morning, most within a 45 minute drive of my home. In most of the locations I photographed for 10 years or more and just came coming back again and again. The second photograph on this page, Spring Sunrise III, was made on the ramp at exit 11 of the Massachusetts Turnpike ((Interstate-90; it ends in Seattle) at a location I had visited dozens of times. You will see "Exit 11" turn up under many images.

But on this one morning, after I parked under the overpass from which I would be shooting, I could see the yellow mist. I knew the view well. The mist was from a vernal pool perhaps 50 feet below the guardrail on the ramp. As I climbed up along the ramp I said to myself "don't screw it up." I didn't. I simply made the same photograph for the next 45 minutes until the sun had burned away the mist. The mist was roiling the whole time and of the dozen or so good images, the one here is the best. 

A photographer friend seeing a print for the first time said to my wife: "I'd give my soul to have taken that picture." It is one of the three or four best from 30 years of photographing. It was taken in the most unlikely of places. The the original there is a tiny slice of the Mass Pike in the upper left-hand corner. The engineers who designed the Pike, just as they had done at the Weston Overlook, filled a valley and given me a shot at tree-top level, close to the trees. It is only one of three locations in New England that I have been able to make that kind of shot. And I made it because I lived close by and returned again and again.



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