IN LOVING MEMORY OF BILL EGBERT

When Bill came into the room and stood for his portrait, I took notice.  He’s not generally one to volunteer for a photograph like this, I thought.  We had finished some long-awaited family pictures in the backyard, and I continued indoors making simple high-key portraits of everyone into the evening.

My mother-in-law asked me more than once, “Why are you taking these?”  I didn’t know, really.  I suppose I was simply compelled.

This was the first of only two frames I made of Bill before he walked away.  The second was out-of-focus, but I knew the first one was strong, and focused – so I was pleased.

The next day, my wife Rebecca and I headed home.  It wasn’t but a few days later were we awaken to the sad news that her dad Bill had passed away in his sleep.

Back to California we all went to mourn his passing and to console each other in our grief.

This portrait, I believe the last picture made of Bill, was displayed at the memorial.  I think it’s a powerful image of a man who is at peace, and without fear.  He walked right over and offered this powerful message to the camera as if to say, I am fine.  All is well.  You be good, too.

I have reflected since on the power a photograph can hold.  Sometimes words are not sufficient.  Sometimes much more can be expressed in an image.  Bill didn’t use words to communicate in his final days, but I think he spoke volumes in his offering for this image.

As a photographer, I can’t help but to feel very thankful for this exchange, thankful that Bill trusted me enough to communicate so openly and honestly.

I suppose I shouldn’t be surprised – all who shared time with Bill will tell you that he was truly a great man.

You will be missed.

In Loving Memory – Bill Egbert – 1946-2013

BIG WINTER SURF HITS NORTH SHORE MAUI

Big-winter-surf-north-shore-Maui-Hawaii

We had our first big winter surf of the year hit the north shores of the islands and here on Maui this week, which inspired me to pack up and get out shooting.  I headed first up to Honolua Bay and explored some possible compositions, while watching the many surfers position for the double-overhead waves that were consistently rolling in.  After checking out a few less-than-inspiring possibilities and feeling a bit crowded with the many spectators, I decided to head south a bit – away from the larger sets that were hitting the north shores.  I stopped at a nearby pullout, jumped the guard rail and headed down a steep slope to the lava rock shoreline and was immediately sparked with some possible compositions.  I stood and watched as a large set came in and definitely knew I could do some work here, so I headed back up the slope to the truck to retrieve my gear.  Over the course of the next hour and until the light had left me in darkness, I shot 32gb worth of images with a couple different compositions.  I kept my exposure times to around 1-4 seconds in order to maintain enough clarity in these 5-8 foot faces, but while adding enough motion to create a more intense dynamic.  With this type of imagery, you really have to shoot shoot shoot, which kinda goes against my style of waiting for the sweet moment and getting the shot in fewer frames.  With that said, you do what you gotta do to get the shot you’re feeling at the time, and in the end, I’m happy with a couple of captures from the night – enough so that I think they may have to be part of my portfolio-in-the-works titled Boundary.

The lesson here – work with your conditions and with your feelings.  It was very dynamic with these big waves crashing against the rocks and making huge splashes 25 feet into the air.  You could feel the impact and were covered by sea spray.  I could have made a 2-minute long exposure and created a more peaceful and meditative feeling image, but that wouldn’t have translated true to my feelings, and to the conditions presented to me.  So, next time you head out to make images, don’t think about it.  Quiet the mind.  Explore around until you find a place that you’re responding to, on an inner/feeling level, not on a mind/thinking level, and then get in touch with your feelings and with the conditions being presented to you.  Then, photograph accordingly.  With this approach, your images will become stronger and more feeling-based, and you will enjoy your time in nature much more than when you’re in-the-head.

HOUSE OF INFINITY

HOUSE OF INFINITY  Maui, Hawaii 2012

The St. Joseph Church in Kaupo, Maui, Hawaii is the oldest church on Maui and was established in 1862.

This image essentially took me over two years to successfully complete and was seen in my mind’s eye long before I could show it to you here in a photograph. There is only a small window of time each year in which the Milky Way is in an optimal position above this old church. Kaupo is over 2 hours drive from my house in Lahaina and is located in the most rustic part of Maui where there isn’t even a proper road. The final challenge was with the painting-of-light that I used to illuminate the church. Using a small flashlight it was much too easy to give too little, too much, or not even-enough light which resulted in many failed attempts before capturing this powerful and ethereal scene.

PHOTOGRAPHING NEW YORK CITY – WITH AND WITHOUT A TRIPOD

GRAND CENTRAL TERMINAL  New York City, New York 2012

Becca and I had a blast visiting NYC last week!  We roamed Manhattan and took in many of the sights, museums, games (NBA) and restaurants – and I even managed to find time to make some images!  Before the trip and during my online research regarding photographing NYC, I found many photographers talking about how strict NYC is regarding tripod use, and wanted to talk about that some here.

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HEADING TO NYC

TIMES SQUARE  New York City, New York

I’m excited to say I’m tuning out.  Turning the auto-responder In-the-Field ON with my email, and generally tuning to “travel mode”…starting now.

Becca and I are heading to New York City and plan on eating, walking and photographing our way through a week in the city.  Yep….that’s the type of places we like to go while living in Maui.

Last time there for only 24 hours, I was pleased to make Times Square, an eight-minute exposure made early in the morning.  I used a Pentax 67 and shot it on Fuji Velvia 100 and only made one exposure, so very stoked I figured the exposure correctly.  Using 10-stop nd filters is one thing with a digi, but when you’re using film, it’s a different animal.  I love how the passing cars and pedestrians all disappear with the time.

What I’ve read online makes me think NYC has become much more strict regarding tripods, so we’ll see what I can get this time around.  I plan on attempting to be very sneaky with the tripod.  As backup, I’ll have a beanpod and a Gorillapod – neither of which I have ever used.  Will report back.

I’ll be posting to Instagram (scottreither) with iPhone pics along the way.

-out

HALLOWEEN IN LAHAINA

I had initially planned on being “sick and tired” for Halloween, or maybe a zombie, but as the evening neared, I had a bit of an itch to shoot some pics of the eve, so I ended up being a battered war photographer – this allowed me to carry a camera and shoot the night.   Between the many beers and shots of Fireball (yummy, delicious and dangerous!) and the fact that most of these were shot in-the-dark, I had a HELLUVA time focusing, so forgive me the blurriness.  Here are some images of friends and family from the night…

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DEAR BANKSY…

Dear Banksy,

I have two favorite artists – you and Vik Muniz.  I have been lucky enough to see Vik’s work in an extensive exhibition at the Museum of Contemporary Art in La Jolla a few years back, but had not yet been fortunate enough to see your work in person.  I follow your website and own your book, Wall and Piece, so am familiar with the work.  While strolling down a street in San Francisco’s Chinatown a few days back, I was totally surprised to glance down an alley and see one of your works!  I immediately knew it was one of yours, and the plexiglass covering the original work was obvious confirmation.  Unfortunately, some friggin’-idiot had totally defaced the plexi so that the work was barley recognizable!

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MAUI SUNSET PHOTOGRAPH – WORKING WITH THE D800

ABLAZE  Maui, Hawaii

Here on Maui, we have had our fair share of amazing sunsets over the past few months, but it seems I’ve been in a bit of a shooting-slump and have watched most of them without camera in hand.  It’s tough to watch stunning sweet light form in the sky without being out in a position to try and capture it photographically.  The stirring inside murmurs to itself, “should be out shooting…could be getting a great shot…who couldn’t make this light work well…Wow!  this light is friggin’ epic!…why aren’t I out shooting!?“  Continue reading

THREE NIGHT DIVERS IN LA JOLLA

THREE NIGHT DIVERS  La Jolla, California

I was heading out 4 or 5 nights a week into the dark cool evenings of the La Jolla night and photographing with little or no light.  On this particular occasion, I was heading down the street and saw three divers having just loaded on all of their wetsuit and scuba gear, heading for the water’s edge.  I was curious to see what I might be able to capture. Continue reading