Posts tagged: nature photography

Evocative Photos of a Lively Catskill Stream


Los Angeles and NYC-based photographer John Francis Peters has always had a deep connection to nature. Growing up near the Catskill Mountains in upstate New York, the surrounding streams and rivers have long been a source of calm and inspiration for him. This past summer after an extended time away on an assignment in Pakistan, he found himself back at the water’s edge, this time to create The Stream, an evocative series capturing his steadfast love for nature’s flowing waters. We recently asked him more about the project.

Svjetlana Tepavcevic’s Fascinating Photos of Seedpods

Svjetlana TepavcevicKOELREUTERIA ELEGANS Chinese rain tree

While taking a hike one day, it was Sarajevo born, Washington DC-based photographer Svjetlana Tepavcevic’s childlike curiosity that provoked her to bend down and pick up her first seedpod, Marah Macrocarpus (Wild Cucumber). The oddity of it interested her enough to scan it, and little did she know that this would lead her to becoming somewhat of an expert on the life cycle of seedpods. Using the scanner as a tool of image making in her series Means of Reproduction, she has been able to discover the intricacies of how various seedpods harbor, protect, and eventually release their plant’s offspring.

Stunning Photos of Alaska’s Four Seasons Photographed Through One Window


“A meditation on one scene” is how Anchorage-based photographer Mark Meyer describes An Alaska Window, his collection of images he has been making for almost a year through the original sash windows with single pane glass in his 100-year-old log house. He tells us the windows are “terrible for energy efficiency in a climate like Alaska, but they tend to take on the character of the weather and can be quite striking. So I started a study in minimalism that explores the subtle and sometimes not so subtle changes throughout the year.” Wonderfully tranquil, Meyer’s windows are abstract in their beauty and nostalgic in their passage of time and season.

Martin Klimek’s ‘Man vs. Nature’ Diptychs

Martin Klimek

Martin Klimek is a commercial and editorial photographer based in San Francisco. His personal project Man vs. Nature is a creative exploration of a series of man-made and natural elements through diptychs. We recently had a chat with him about the work.

Otherworldly Icelandic Landscapes Photographed by Morgan Levy


It was in Iceland that I discovered how geology could serve as a metaphor for psychology. The small nation island sits on the ridge between the North American and Eurasian tectonic plates. In geothermal-active Iceland something is always stirring below the surface. Subterranean movement creates a shifting landscape, little is solid or certain; volcanoes unexpectedly erupt.

This process of destruction and reshaping generates a sense of uncertainty and disorientation. In Iceland one never feels fully in control. The fear of being left alone or of loss of control resonates in all of us, but it’s something that we’re drawn to as well. In this series I aimed to convey that ambivalence. Photographs have the power to convey order in unfamiliar situations. I deliberately try to introduce the unknown and linger in the vagueness of metaphor. My images are sometimes digitally composited and rendered unrecognizable from their original state.—Morgan Levy

Photographer Morgan Levy began shooting seriously in Iceland in 2008 with support from a fellowship. It was during this time that her series A Strange Sound In The Deep Silence was created. It was a big undertaking for Levy. After raising some additional funds, she was able to take on an assistant. Together they hiked with all her gear, medium and large format cameras, over volcanoes and up the steep side of craters. The sun never fully sets in June in Iceland. Between midnight and 4am, a seamless transition occurs between dusk and dawn. This is when she would predominately work.

Images of ‘Solaroids’ Created by Long Exposures of Direct UV Light Onto Film


Solaroids started as experimentation and reevaluation of a material displaced in today’s commercial imaging production. The abstract forms and colors developed on the film extend the function and boundaries of a material whose original purpose is now obsolete.—Jeff McLane

Los-Angeles based photographer Jeff McLane’s Solaroids were produced using large format Fuji instant film and direct outdoor light. To create the abstract photographs, he used long exposures of direct UV light. The images are not altered or retouched; the colors come from the film being pushed past its intended time.


A Photographic Journey Through the Largest Lava Cave in Iceland


Beneath the surface of the earth exists an isolated corridor detached from reality. Formed from an eruption of the Langjökull glacier in the year 930 AD, Víðgelmir lava cave is the biggest cave in all of Iceland. For months, I would take daily excursions into this gated off world guiding small groups of visitors deep within. At one and a half kilometers long, it would take over three hours to maneuver through the rocky hallways of the cave. Under the midnight sun of Iceland, Víðgelmir was the only true darkness I would know.—Bryan Martello

Working as a tour guide in Iceland, Boston-based photographer Bryan Martello balanced explorer with photographer—the lava cave he visited daily becoming the backdrop for much of his recent work. To help estimate where he was in the cave, Martello would establish milestones for himself, creating personal points of interest he could pick out among the natural forms. These are Martello’s visual markers in a world below, reminiscent of characters in Icelandic mythology—like the ice elves said to be living in the cave’s sea of stalagmites.


Stunning Cloudscapes Photographed by Carolyn Marks Blackwood


New York-based photographer Carolyn Marks Blackwood has a knack for capturing the natural world and the beauty that lies therein. Shot from her home in the Hudson Valley where light and big sky are at their best, Clouds is a collection of color and texture, endless abstractions that stretch far beyond the capture. Gallerist Alan Klotz says of the work:

The clouds are all about the colors present in the moment, dynamic and ephemeral. It’s hard to photograph clouds, not just because they are moving, nor because of the proprietary hold on them by Stieglitz and Constable, but because in order to be successful with clouds you almost have to get away from their identity…the pictures can be nebulous, but not cloud-like…they can be recognizable, but not common. These are not common, and like their Stieglitzian forebears they are non metaphorical equivalents, aspiring to the condition of music.

Glow-in-the-Dark Flora Photographed by Egill Bjarki


Departing from his comfort zone of photographing people compared to still-life, Shanghai-based photographer Egill Bjarki challenged himself with the creation of his colorful, eye-pleasing series Flora. Nature provided the inspiration and Bjarki filled in the rest, working in a big warehouse during one night shift to create the series. He says working through the night influenced the work; the images have a silent and glow-in-the-dark feel to them. Bjarki’s flora-scapes are smartly composed and balanced, shot straight on like the way he would a portrait. Electric and tantalizing, Flora is a perfect example of the power of light, color, texture and composition.

Photographer Coats Negatives With Gasoline for Series on Clean Water Scarcity


Metaphorically speaking, I feel that our consumption habits—specifically dealing with precious natural resources—are out of control and unsustainable. I also feel that not many people care enough about it because they won’t be around long enough to see the mess they’ve started fully materialize. I wanted to transfer that feeling I had, which was maybe something like a sense of powerlessness or dread, to the image making process. I wanted to lose control, having the resulting work border on ceasing to exist in any recognizable form.
Peter Hoffman

We are intrigued by the process behind Chicago-based photographer Peter Hoffman‘s Fox River Derivatives, a series commenting on consumption and clean water scarcity. Traveling by bike up and down the Fox River, Hoffman shot the photos on medium format film, after which he spray-coated the negatives and the flat surface beneath them with gasoline. He then threw a lit match onto the puddle of gasoline that the negative strip lie in, dousing them with water—fingers crossed—before the negative was too obliterated. It was a trial and error process, mostly error, he says. The result? Newly transformed babbling brooks that teeter on the edge of radioactive and ethereal. The Fox River lies between a densely populated suburban landscape and a more rural landscape in Chicago, a location that Hoffman describes as perfectly paradoxical.