At the end of August, in the Appalachian highlands, there is often early evidence of the cool weather that is waiting its turn in the unfolding year.

Autumn touches the ridge tops far earlier than in the river valleys.

    Fall’s opening gambit generally occurs after a late summer hot spell. A strong line of storms usually heralds the season’s first outbreak of true Canadian air. One morning you awaken to a strikingly beautiful sunrise and a crispness that is shocking to one who is well acclimated to the warmth of summer. As the day progresses, the sharp reds of sunrise evolve into a deep blue, more like the skies of midwinter. There is a strong breeze. Small white clouds pass quickly overhead as if embarrassed to deprive us of the brilliant sunshine.

   The next several nights will be unnaturally cool. The day’s winds are becalmed; heat radiates quickly from the earth below. The fans and air conditioners so useful on warm summer nights will be stilled. Sleeping will be more comfortable, albeit with an extra blanket.

   There are potent changes occurring in the natural world. After the first few brisk mornings, other colors will accent the uniform green of the forest. First are the bracken ferns whose early autumn yellow contrasts with the larger cinnamon ferns that now assume a deep rust hue. Low in the canopy, small maples and dogwoods add splashes of red and yellow to the scene, sometimes one branch at a time. Wetlands offer a hiker the first preview of fall colors as the trees and shrubs in those places often change before their counterparts in better-drained areas.

   By mid-September, the hummingbird feeders in our yard hang abandoned, their usual dependents driven south by the early chill. Deer, which were scarce all summer, are beginning to reappear in the yards and gardens. Velvet-covered antlers distinguish the bucks, as they feed on acorns that now litter the lawn.

    On the ridge top scrub barrens, unprotected by the forest canopy, nighttime temperatures will tend to fall significantly compared to the surrounding woodlands. Hiking these areas on a fall evening, one can encounter rivers of cold air as they course though the landscape’s shallow draws, eventually to pool in the so-called “frost pockets.” Here, even in early fall; there may be freezes, which quickly melt in the bright morning sunshine.

    A walk along a lakeside trail in late September reveals further evidence of a transition occurring. One immediately notices the absence of frogs and tadpoles at the shoreline.  The latter have by now, matured into the former and have burrowed into the mud below the cooling waters. Migrating geese visit to feed and briefly rest. Along the shore, fruit still clings to blueberry bushes, though their leaves are already changing to crimson.

    Summer may yet fleetingly return for one more encore; bowing before it leaves the stage. Eventually the climate will change more definitively, and the forest canopy will explode with color. Fall has returned. Winter will not be far behind.

  

Creating interesting images in midsummer, in the northeastern United States is sometimes a struggle. 

 Now I’m not saying that there aren’t subjects to shoot. There certainly are. 

    Streams, waterfalls, lakes, sunrises and sunsets all are available in midsummer the way they are the rest of the year. It’s just that everything is a fairly uniform green. And one day looks like the next. 

   There’s little change or evolution in the landscape, like in the fall with the leaves that seem to change almost day-by-day; or more obviously in the winter, when a snowstorm can utterly transform the scenery overnight. 

   There is however, a pattern of subtle, but predictable events in rural landscapes. There is for instance, the reliable blooming of summer flowers. If one pays attention during the year, you can begin to date an image by what blooms are present. 

  In early July for instance, here in the Moosic Mountains, purple thistles decorate the sunny edges of dirt roads throughout the region. Three weeks later, the seeds and their white parachutes are grasping at currents of air. 

Cardinal flowers decorate the channels of ephemeral streams that have dried up in the warm dry summer air. Blueberries, their blossoms long gone, ripen on the branches of trailside shrubs. 

  Sunflower blooms appear on their towering stalks sometime later, generally in August, and often well into September, their appearance roughly corresponding to the eruption of yellow in fields of goldenrod, the scourge of allergy sufferers everywhere. 

    On local farms, hay is being cut, depending on the summer weather, for the second or third time. This applies a sweet aroma to the summer breezes. 

   Sweet corn starts to be harvested. Heavy green fruit begins to pull the thin branches of tomato plants downward. Vast armies of wheat stalks bend in unison, to the wind of midsummer storms. 

   For me the goal of scenic summer photography, and for that matter, all seasonal photography is to capture the essence…the feeling of the moment that I and others experience in our little nook of the world. 

    I want my audience to view an image with all their senses, and share the full experience; for instance, the chill of a distinctly cool August morning in the Adirondacks, after a cold front passes. I surely want then to see the glory of the sun as it burns through the early morning fog.  But I want them to inhabit the scene, and to imagine the fresh smell of the dew-laden grasses, and to hear, as I heard that morning,  the distant sound of a loon on this obscure little lake, shrouded in mist (I guess now that I have a GH1, I could just take some video). 

   I want to convey the feeling as a rivulet of sweat runs down the back of your neck, in the lingering heat of a summer evening, on an uphill walk to an old abandoned farm. 

 Or the satisfaction of a quick Saturday afternoon mountain bike ride to a reservoir high in the surrounding hills. 

 Or the joy of a paddle on the Susquehanna River as the sun sets over the surrounding mountains. 

  I want to evoke the memory of hunting woodchucks at a friend’s farm on an August afternoon…or the joy of the amusements and food at a volunteer fire department “bazaar”. 

Images shouldn’t always just be technically competent and well composed. 

 I believe they need to tell a story.

 

The Mountain Laurels are starting to bloom in Pennsylvania.

    This is our state flower, and its emergence marks the point where our climate finally evolves from the fickle whims of April and May, to the soft summer weather of June. It is a moment of unconscious celebration for people who begin to open their pools, grill in the evening after work, and sit on the porches at night, listening to the distant call of whippoorwill.

   Here in the northeastern part of the state, we are beginning to see the delicate clusters of white blooms open up on the lower altitude woodland slopes in our region. By mid to late June they will bloom in abundance throughout the northern third of the commonwealth.

   I have for the last fifteen years, taken a week of vacation at this time, to wander the mountains, either by backpacking, or more recently, because of the burgeoning weight of my photo equipment, and a bad knee, car camping and day hiking. The laurels, and their cousins, wild rhododendrons, provide the forests their last splash of widespread color before they settle in to the monotonous green of summer. Arguably, it is the last time until fall, for a photographer to use wider lenses in the forest. After the laurels are extinguished,  longer focal  lengths become more useful to capture the later blooming wildflowers which are scattered throughout the woodland greenery.

I have several striking memories of this time of year involving Mountain Laurels:

   I first hiked the West Rim Trail of north central Pennsylvania in mid June, perhaps eighteen years ago. I was mainly a mountain biker at the time and hadn’t backpacked in years. I didn’t realize at the time, the different conditioning needed to carry a pack over distance. The rugged trail, plus the weight on my back played hell with my feet.  The weather had been wet, and I remember being extremely eager for the trip to end. I was getting close on the third day. The last portion of the trail diverts west into the Tioga State Forest, apparently to avoid Coulton Point State Park which hugs the rim of the” Grand Canyon of Pennsylvania”  in that location. Within the last four miles of its northern terminus, the trail leaves the woods to once again skirt the edge of the gorge.

   The Pine River gorge at this point is roughly 800 feet above the river, and the edges are swathed in laurel, which was in full bloom as I emerged from the forest on the path as it swerved to edge of the ridge. My jaw dropped at the beauty. White blossoms were everywhere, densely surrounding the trail. To my right was the spectacular vista off the ridge. I photographed it at the time but the small pocket camera and I were inadequate to the task, and the results were unpublishable. The memory of this, however, was worth every blister.

   A year later, I was on the Loyalsock Trail in the Wyoming State forest. This is a very vertical trail, laid out I am told by an Explorer troop, which must have had very sadistic leadership.

   I was in better shape that year and enjoying as I recall some wonderful June weather with blue skies, seventy degree days, and fifty degree nights. Hiking with several friends, we lugged our heavy backpacks up another of the seemingly limitless up hill climbs that mark the trail’s early miles.

    I remember cresting a hill, and looking down on a relatively old growth stand of trees on the vast wooded slope below. The canopy was quite high, perhaps 150 feet. There was a feeling of being in a vast verdant space. The forest floor was lush with white laurels, all in full bloom, a carpet that extended for as far as your eyes could discern. All of this was dappled with shafts of sunlight, occurring at random spots where the leaf cover was spare. No one could help but to stop, and stare. Though it was only 11 AM, we found a log on which to sit, and ate our lunch early.

June is a wonderful time of year in the eastern mountains.

 Perhaps God makes the Mountain Laurels bloom, just to remind us.

 

 

Daffodil and Motorcycle

  As I have mentioned before in this space, the camera bodies that I utilize include the Nikon F-Mount system cameras. I have always preferred the ergonomics of the Nikon based cameras to their Canon counterparts. For me, these digital bodies, in particular, the professional level models have the best user interfaces on the market.

    This is all personal preference: Canon, Pentax, Sony, and Olympus all make systems with compelling features and good quality imaging chips, and I have used many of them in the past.

  Among the cameras made with the Nikon F-Mount, were cameras made by Fujifilm. I have always thought that there is something special about imagers designed by film manufacturers (Kodak makes imagers also, now used in high-end digital backs). The Fuji that I use is an S5,  a modified Nikon D200, with Fuji firmware and a unique sensor that gives it a wide dynamic range.

   Originally designed for the wedding industry to capture the bright whites, and dark tones in the attire of a typical bride and groom, it work very well for landscape situations where the light range is broad, or the color is particularly intense. The sensor has two sizes of photodiodes for a total of 12 million pixels arranged as a honeycomb.

   There are 6 million larger pixels that are responsible for most of the imaging duties. The addition 6 million small pixels are utilized to allow the camera to record very bright whites. They are set at a lower gain than the large pixels and thus don’t burn out with very bright scenes. The sensor layout increases the apparent resolution of the camera from the expected 6 Mp to more like 8-10 MP still lower than the resolution of many current DSLRs. Even so, I have printed images from my S5 as large as 20”x 30” which were happily accepted by professional art buyers without complaint.

  The camera has a small but dedicated following, who believe as do, I that the images produced by the Fuji have a unique tonality, and film-like quality, unlike other competitive products, in large part because of the unique sensor design.

   Fujifilm has not announced a successor to this camera. The dream of Fuji aficionados would be a true 12 MP (12 million small pixels, 12 million large pixels) full frame body built on the D-700 chassis. In the mean time, I’ll keep using the S5.