Something Different

The Dolly Dock at Night

(c) Darlene Lyon Kruse -- All Rights Reserved

Here's a photo that's something different from anything I've posted here before. This was made during the Port Orford-Cape Blanco photography workshop David Lorenz Winston and I co-led in late August. We spent sunset along the beach at the Battle Rock Wayside and then noticed that the lights were on across the bay at the dolly dock. So we all trekked over there, after dark, and photographed some more.

About this image: When I first arrived at the dock, I made some standard shots of the activities going on -- people working on the docks. It was so dark, though, that there was lots of motion-blur. And so I decided to take advantage of it to create some abstracts. I shut down my aperture enough to give me a slow shutter speed and created ghost images of workers. Then I experimented with zooming in. I was drawn to the vivid orange, yellow & lime green as well as the ice on the floor of the dock & decided to use my zoom to create some images that were more about color and line than about subject. This is one of my favorites. I hope you too enjoy it.

Metadata: Nikon D300, 24-70 mm. f/2.8 lens at 24mm (equivalent = 36mm), exposure of 0.7" at f/19, ISO 800. Tripod. No flash.

On the dolly dock, Port Orford, Oregon
(c) Darlene Lyon Kruse - All Rights Reserved

This past weekend, David Lorenz Winston and I co-led a photography workshop at Port Orford and Cape Blanco on the Oregon coast. The weather was great, no big winds at the Cape, partly cloudy skies. The photo ops were many, and we all had a great time exploring the beaches and docks with our cameras. "On the dolly dock, Port Orford, Oregon" is an infrared photograph I made while there.

About the dolly dock: Port Orford is unique. It has one of only two dolly docks in the United States. The harbor is too shallow for safe mooring and so boats are hoisted onto the dock with a huge pulley, placed onto custom-made dolly-trailers, and towed to their "mooring" space on top of the pier. This is a photograph of a commercial fishing boat being lowered from the dock to the water.

About the photo: This photo was made at about 9:45 AM (PDT) on August 28, 2010, with a Nikon D90 that has been converted to infrared. Metadata: 18mm lens, ISO 250, 1/200 sec at f/10. Post-processing included converting to black and white in CS3; levels and curves adjustments to pull out the drama in the sky, increase the contrast a bit, and deepen the darks; and sepia toning. In Lightroom I added a graduated filter to darken the sky and further accent those great, sweeping clouds. I also added a vignette.

This is not the usual infrared photograph, with lots of foliage turned white. There is some grass in the background that has turned white, but none on my subject -- the fishing boat. An infrared photograph of a non-landscape scene can create an image full of drama and texture. If there's anything in the sky at all, infrared will bring it out, even if it seems insignificant to our eyes. The dreamy quality I associate with film infrared is present in this image -- and has combined with the drama in the sky to make this an image I like a lot.

Golden, Oregon

(c) Darlene Lyon Kruse - All Rights Reserved

My newly-converted camera arrived Tuesday, and I spent Wed., Thurs. & Fri. testing it. This is one of the photos from maybe 200 infrared images I shot on those three days.

Golden, Oregon is a small ghost town in Josephine County, Oregon. There are 5 or 6 buildings still standing plus some equipment from this once-bustling mining town. It is located off Interstate 5, near Wolf Creek Oregon.
This is a classic infrared image -- black and white, trees and grass turn white. I have developed the image in Lightroom and CS3 - mostly exposure and contrast adjustments. I also added a slight vignette to draw your eye to the center of the image.


Metadata: Nikon D90 converted to record infrared light spectrum. 24-mm lens. ISO 200. Exposure 1/100 second at f/11.

Flora Oregon

Flora, Oregon, a living ghost town
(c) Darlene Lyon Kruse - All Rights Reserved

This is an older photograph, made on film actually, in the 1990s. But recently I worked on it to create the mood that I had hoped I'd find on that trip to Flora -- but which just didn't happen. Part of being a fine art photographer is expressing a feeling about a place or an event. And the digital darkroom makes it possible for us to create in ways I never managed to do in the traditional wet darkroom.

About Flora. Flora is located in Wallowa County, northeastern Oregon, about 35 miles north of Enterprise, on Oregon Route 3. There are occupied residential buildings in Flora, but mostly it's a ghost town. The area is beautiful, rural, agricultural. Worth spending time exploring with your camera if you've never been there.

About the photograph. This is a composite of two photographs. The sky is one photograph. The buildings and foreground are from another. When I was at Flora, the sky was flat gray. For the feeling I wanted to evoke with this image, I needed a dramatic sky. I pulled this from another image and desaturated it. The buildings are color-corrected (they had a strong blue-ish cast) but otherwise unchanged. the grasses in the middle-ground and foreground have been painted in Photoshop using a brush in Color blend mode. My thanks to my colleague David Lorenz Winston who taught me this technique.

I hope this photograph evokes the sense of isolation and drama I saw in the Flora landscape.

Abandoned Barn & Cattle Chute, Ashland OR

(c) Darlene Lyon Kruse, All Rights Reserved

Kodak made me do it. I fell in love with infrared photography in the early 1990s and had been shooting High-Speed Infrared Film (HIE) ever since. When Kodak announced it was discontinuing HIE, digital seemed like my only choice. But I went there kicking and screaming because I so loved the soft, surreal images that HIE gave me, and digital infrared has a sharpness that creates a different kind of image. I bought a dozen rolls of HIE before it was forever gone, though, and still have a couple of rolls in my refrigerator...and an Oregon source for developing them.

Abandoned Barn & Cattle Chute is on a farm across the street from where I live. The City of Ashland decided to develop the land, for affordable housing, much needed here. Talk about mixed feelings -- I loved photographing at this farm, now abandoned, but am also in favor of affordable housing. SO...I spent the summer of 2009 photographing over there almost everyday. A week after I made this photo, construction started. The farm was fenced off. Trees were trimmed, old outbuildings torn down. The barn is still there but no longer accessible.

This version of Abandoned Barn is actually a composite of two. When I looked at my images in the computer, I saw white PVC pipe laying along the fence, to the left of the cattle chute and not visible in this version. So I went back the next day and reframed my image. But...when I looked at it in the computer...NO CLOUDS. And the clouds are essential to the success of this image. For two days there were no clouds in the sky. And so I created a composite, using the clouds from the first image I made. I chose the sepia tone because it adds a vintage, romantic feeling that I felt while I was photographing the barn.

A bit about digital infrared: To make this image, I used a digital SLR that was converted by Life Pixel to capture infrared. A Nikon D50, my first digital SLR, my learner camera after 20 years of shooting film and reluctantly coming to digital. With the conversion, it became a dedicated camera, used only for infrared work.

Because of the calibration process when a camera is converted, images are sharper than those made with film. And unlike trying to shoot infrared with an unconverted digital SLR, exposure times are as they would be with a traditional digital SLR. (Exposure times for infrared using my unconverted D300, for example, were in the 50-60 second range.) Late summer/fall 2009 I lost my D50. After a winter of tearing my house, storage area, and car apart -- more than once -- and not finding it, and a spring of testing the unconverted D300, I finally accepted reality bought a new digital SLR. It's in Washington state right now, being converted by LifePixel. My new dedicated camera should be here this week (YIPPEE!), and I will be SO glad to be back in the infrared business again! It feeds a part of my creative self that nothing else does.

To see more infrared images, digital and film, check out my fine art gallery on my website.

Metadata: Nikon D50 converted SLR. Nikon 14-24mm f/2.8 lens at 18,,. ISO 200. Exposure: 1/320" at f/11.

Pismo Beach Palms in Infrared

Palm Trees, Pismo Beach, CA
(c) Darlene Lyon Kruse - All Rights Reserved

Infrared photography is a special love of mine. The dreamy, surrealistic images. The graininess. The contrast between the white-whites and the black-blacks. "Palm Trees, Pismo Beach" is a favorite of mine from my archives. I chose to share it this week because infrared is on my mind. Last summer I lost the camera that had been converted for digital infrared. After much testing to see if I could shoot infrared with an unconverted camera, I just this week purchased a new camera that I am having converted to shoot digital infrared. So I'm excited and eager to be back in the world of infrared photography again.

About this photo: I found these palms at Pismo Beach, California during a visit with my son and daughter-in-law. On that trip I discovered what perfect infrared subjects palm trees are -- the contrast of trunk and leaves, the feathery quality to the palm fronds especially appeal to me -- and made several. This is one of my two favorites from that trip. Because this was done on film, I don't have the metadata. I do know that it was made on Kodak HIE (high-speed infrared) film with a red filter, 35-mm. film format, probably done with my Nikon FM2.

What I love about this image: The palm trees. There's such an other-worldiness to them. The curved wall of the planter they sit in. Also, the curved wall and the building behind the palms have an Art Deco quality that I remember from the Miami Vice TV show, even without any color.

A little about infrared photography: I began photographing with infrared film in the early 1990s after seeing a portfolio of work in a photography magazine. What interested me was the surreal quality of the images and the fact that the best infrared photographs are made during the time of day when visible light photography is at its worst -- 11 AM to 3PM.

The infrared portion of the light spectrum lies beyond what our human eyes are capable of seeing. Infrared film reveals this unseen world to us. I don't know much about the physics of it -- HOW it works doesn't particularly interest me. My interest is as an artist. Somehow, magickally it sometimes seems, in the infrared world grass and green leaves turn white while water and blue skies tend to go black or at least very dark. Kodak HIE added some graininess that I liked a lot. And because of the makeup of the film emulsion itself, there was a soft glow to subjects. Oh, and because of focus issues, there was an added softness.

Kodak has since stopped making HIE which is a great loss to all of us who ever shot it. But there is digital infrared now. Definitely a different animal in many ways -- but with its own special qualities and a unique beauty.

Next week I'll be writing about digital infrared -- how it's different, what makes it special in its own right -- and posting one of my favorite digital infrared images.

The Mary D. Hume

The Mary D. Hume

(c) Darlene Lyon Kruse, All Rights Reserved

Most of the work I've done on the Oregon coast over the past 20+ years has been done between Port Orford and Newport so, when David Winston and I scouted locations for our upcoming workshop at Port Orford and Cape Blanco, it was an opportunity for me to explore Gold Beach. The Mary D. Hume is much photographed but this was my first time. Here's a little info about the boat, first:

Built in Gold Beach in 1881, she is named for the wife of the builder and first served as a steamer serving Mr. Hume's cannery business. Later she became a whaling ship and, when the whaling industry ended, she served as a tugboat, a tender for halibut fishing boats and a towboat before being retired to the harbor near where she was born. The Mary D. was in service until 1978, the longest serving, commercial boat on the Pacific coast. Now she sits at the mouth of the Rogue River, slowly decaying, becoming part of the river.

I was drawn to the texture of the timbers -- there's something SO seductive about peeling paint & old weathered wood --, the bright green of the moss growing at and below the waterline, and the tilt of the ship against the pier, as if leaning on it for support. I hoped for a soft spring sunset to warm her up, maybe some clouds in the sky. But the sky was cloudless, and the sunset didn't manifest its full potential. Sometimes you just have to do the best with what you're presented with. So...I have helped it along in Adobe Lightroom. I did that by adjusting the color temperature to bring in more warmth & using Lightroom's graduated neutral density filter to intensify the existing color in the sky.

My vision was to create an emotionally satisfying image of the Mary D., one that is warm, sweet, nostalgic, even romantic. That didn't happen when I was there -- so I'm really grateful for the technology that allows me to come close to expressing my vision for her. I can't wait to go back and photograph her again...



Metadata: 6/30/10. 8:28PM. Nikon D300. 24-70mm f/2.8 Nikkor lens at 70mm (35mm equivalent - 105mm). ISO 400. 1/180 sec. at f/8. Gitzo tripod with Linhof ballhead.