I start with rough cut, four-quarter Mahogany from a mill in Manahga, Minnesota. I cut it into lengths that work for my frame sizes, rip it into planks the width of my specific frames, and run it through a molding machine using knives I designed. While each frame is made from a single piece of wood so the pieces all have similar grain and take the stain with a similar color, any time one works with real wood, grain and color can change through a board.  When I find a knot or other unusual feature in a board, I make sure that section is on a frame.  This and the fact that every piece of Mahogany has its own grain, iridescence, and look, make each frame a unique piece itself.

I use a miter saw to cut the molding to the appropriate lengths, then glue the edges and put the pieces in a Merle Clamp, which holds it firmly while I get all the corners lined up.  Then I use pocket-holed screws for a strong joint.

I use framers points to install my linen liners, so if sometime down the road, one needs to remove it, it can easily be done.  Frame shops premanently nail the liner to the frame, so it cannot be changed without destroying it and possibly the frame.

I install the mounted canvas with framers points, then seal the back with kraft paper, install hanging wire with D-rings, and put foam bumpers near the bottom edge.  While there isn’t really a reason to seal it,  I like the clean look of the sealed back, and it prevents dust from collecting and having to worry about cleaning the backside. Lastly, I put on a label identifying the image and print number with my name and copyright.

Keep in mind that despite being kiln dried for consistency, solid wood rarely stays perfectly straight when cut into strips, as it ages, or with changes in humidity. The different grains within a board can be at varying moisture content over time, or react differently to changes in humidity, so frames may not always lay perfectly flat, and individual pieces may not always be perfectly straight. This is natural and a trait of all wood products made with narrow strips. Also, more intricate the grain patterns and the area around knots are most susceptible to board to flex when cut, aging, or with humidity changes.

The ocean itself, while a great place to relax and cool off, doesn’t offer much to provide interest in a photo, so one must find things to give the image interest and scale–generally piers.  I spent a morning at Jacksonville Beach shooting the pier at sunrise, then hit Boneyard Beach before heading down to Flagler Beach, where I shot their pier on a drizzly afternoon, and the following morning.  When I got to the gulf side of the state, I discovered the piers had all been destroyed by hurricane Ian, but I found some old pilings that fascinated me.  I spent a few evenings and mornings exploring the different moods of the scene with varying light and water levels as the tides came in and out.

I visited the J.N. Ding “Darling” National Wildlife Refuge on Sanibel Island, and a couple other preserves, where I pursued wildlife images–mostly birds–with some success.

Coastal images are all about the lighting and sky, so once you find a subject that captivates you, visiting the same place repeatedly yields images that vary greatly in mood.  Because of this, one could spend a lot of time in any given area of Florida, and never tire of the scene.

Sunrise at Jacksonville Beach.  I love the light rays in the sand and the colors they create.

A Great Egret fishing at J.N. Ding “Darling” Wildlife Refuge

For the minimalists–I was intrigued by the lines in the sand left by the receding tide as it swirled around this colorful, lone shell.

A view from under Flagler Beach pier.  A long exposure give the water a surreal feel.

A view of Flagler Beach pier from the sand.  It was drizzling off and on, so the light was balanced allowing a view under the pier.

Flagler Beach Pier at sunrise.

A Brown Pelican taking flight at J.N. Ding “Darling” National Wildlife Refuge.

A Little Blue Heron I found in the Big Cypress National Wildlife Management Area.

Alligators are everywhere in the swamp areas.  I found a couple when I stopped at HP Williams roadside park.

These pilings on Naples Beach from a long removed pier fascinated me, and I visited many times. I like the subdued color in this image.

An Iguana let me spend some time photographing him.  The textures of his skin are cool when printed large.

The pilings at Naples Beach, with an amazing sunset.

Found this Screech Owl in the top of this dead tree in Six Mile Cypress Slough Preserve.

The pilings on Naples Beach in early morning light. I like the shadows giving some drama to the foreground.

A Roseate Spoonbill in J.N. Ding “Darling” National Wildlife Refuge.

The ocean itself offers little in terms of elements for an effective image.

My visit was plagued by snow, and with many days spent in a motel room, I only managed two days of shooting–a day and a half in Sedona, and an evening in Grand Canyon. Only the main road to the Visitor Center on the south rim of Grand Canyon was open, and no hiking trails were cleared, so my only vantage point was Mather Point.  It is one of the best views of the canyon, and I got there late in the afternoon, so I had some light and I stayed until after the sun had set, which often gives great views of deep canyons.

I enjoyed a couple of hiking paths in Sedona, as well as watching the iconic Cathedral Rock glow at sunset. The rock formations also looked great after sunset, when there were no shadows and a soft light gave them a peaceful feel.  Soldier Pass trail was a blast, with a clear blue sky and cool temperatures.  I explored the area around the seven sacred pools, as well as the cave spur–I got an image looking out a window in the cave. I walked a portion of the Easy Breezy trail at Cathedral Rock the next morning, before the clouds rolled in and I had to head for my motel in Flagstaff after lunch to wait out the snow.

After two days–18 inches of snow–the road to the south rim of the Grand Canyon was opened about 3pm and I made the hour and a half drive to Mather Point.  All the hiking trails were waist deep in snow, so I couldn’t do any of the exploring I had planned. although it was bitter cold and windy, I stayed until after sundown and got some interesting images of the canyon. The afternoon light made the canyon wall glow with strong shadows for a dramatic look. After the sun set, all the valleys and crevices were visible with all their textures–these are my favorite images I got there.

My last day there, I had to rearrange my planned routing, went to Horseshoe Bend near Page AZ in the morning instead of at sunset, as it was the only place the roads were open.  The road reports said the roads to Grand Canyon were opened at noon, so I made the two hour drive there only to find the reports were wrong. By this time, there was no time to get anywhere else, so I lost most of my light that day.

Despite shooting for less than half the time I had planned, I got some great images of Sedona, Superstition Mountain, White Sands, and the Grand Canyon.

Last light on Grand Canyon

Twilight at Superstition Mountain

White Sands National Monument in New Mexico at sunset

A cactus before the sun rose over Superstition Mountain

Twilight at Cathedral Rock

Evening light on Cathedral Rock, Sedona

Sunset at Superstition Mountain

The view through a window in a cave on Soldier Pass Trail in Sedona

A view on Soldier Pass Trail in Sedona

Cathedral Rock reflection in pools on slickrock in Crescent Moon Picnic area, Sedona

Mather Point at Grand Canyon NP

A view from Mather Point in Grand Canyon, looking east at sunset

Horseshoe Bend near Page AZ

Grand Canyon from Mather Point

With canyons, it’s often when there is no direct sunlight that the views are the nicest, as there are no hard shadows concealing crevices and valleys, and the textures can really show. My favorite images of Dead Horse Point are those I captured before the sun rose above the horizon. This being said, it was an awe inspiring scene to witness as the sun lit more and more of the canyon as it rose.

All in all, it was a great experience, and I got some images that sell well, so the trip was a joy and success.

Pre-dawn light at Dead Horse Point

Pre-dawn light at Dead Horse Point

Afternoon light on Delicate Arch

Double Arch

Looking thru Mesa Arch in Canyonlands NP, mid afternoon

Shafer Canyon

A view of the San Juan mountains from Arches NP

Before sunrise looking thru Mesa Arch in Canyonlands

Mesa Arch in Canyonlands at sunrise–it is famous for glowing orange as the sun rises. I call the print of this Majestic Morning

Landscape arch. The light wasn’t good the day I made this hike.

The area near the Courthouse in Arches NP. A short rain created some flow in the arroyo.

A random spire in Arches NP

Park Avenue section of Arches NP

Turret Arch group in front of the San Juan Mountains

Turret Arch–this was taken for a couple miles away. Too much atmosphere for great detail, but pretty clear to get as much as I did.

Printing on canvas revolutionized photographic printing, especially with larger prints. Canvas prints are varnished like paintings, thus eliminating the need for glass, so canvas prints have no reflections or glare at all. This allows the full color of the image to show, making them vibrant and beautiful, and the entire image can be seen from any angle in the room. Without glass, they are lighter and safer to hang, and since there is no matting, a larger image is displayed in the same footprint on the wall. Moreover, the texture in canvas brings an image to life—it ‘feels’ real, like looking at an actual scene instead of a picture.

More recently, printing on other surfaces has become available, such as metal, acrylic, and glass, with metal prints being the most widely used. While the shine of these surfaces make an image seem amazingly vibrant—an immediate ‘wow’ factor—they have even more glare and reflection than glass. It’s almost impossible to position them so that one can view the entire image without glare or reflections—often of the viewer themselves—and it won’t be possible from every position in a room. Also, as the texture in canvas brings an image to life, the ultra smoothness of metal has the opposite effect—it makes them flat and lifeless. Once the novelty of the shine wears off, the reflections and glare become genuine irritations—not ideal for something that is supposed to make a room feel pleasant and welcoming for decades.

My customers buy my work to set the mood in a room and to take them to those places. Canvas prints provide a richly colored, natural scene that feels real, and allows people to feel like they are there, experiencing the scene for themselves, from everywhere in the room. They have a refined and classic look in solid wood frames, and a contemporary feel in wraps, but always provide the room with the ambiance desired.

The Ozarks are a beautiful area covering southern Missouri and Northern Arkansas, completely blanketed with trees as far as the eye can see, with a variety of hiking trails to waterfalls and overlooks sprinkled throughout the entire region.  Many of the hiking trails are a bit obscure and hard to find,  so I recommend doing fairly extensive research if you ever go, so you can find the falls and overlooks you are looking for, and be properly prepared, as some trails are pretty rough, and some of the roads are as well.  Something I found interesting was that all the creeks and pools on them are green–locals said it was because the water flows over rock beds, and picks up minerals from the rock.  It was different to view streams with no silt, or even sand at the bottom–the water runs over bare stone all the way down the mountain.

I spent a lot of time at Falling Water Falls, in the rain.  I really like the area–you park right by the waterfall, so no hiking to get there, the water is accessible from any angle, leaves had covered much of the ground with a blanket of orange, and the rain made the rocks and exposed tree roots very dark.  A couple hours passed quickly as I explored various angles, checking the view using each tree and rock as possible foreground.

“Falls Splendor”–Falling Water Falls

Whitaker Point is a a couple mile hike after a 30 minute, 5 mile drive on gravel.  The hike is not difficult, and the view is breathtaking.  It is said that Hawk’s Bill Crag is the most photographed rock formation in the Ozarks.  It would be a great place to go in November and view fall color.

Hawk’s Bill Crag–Whitaker Point

Haw Creek Falls is the only other falls I found that I could drive right to.  There is a campground there, and a parking lot right by the falls.  The creek was running pretty well, as it was raining off and on while I was there.  I found more color in the leaves here then most places I visited, and I was able to get an image I really like.  In the balanced light, the wet tree trunks really showed up in stark contrast to the saturated, soft color of the leaves in the rain–it’s a simple image, but I find it very effective.

“Autumn Pastels” –Haw Creek Falls

King’s Bluff Overlook is a fairly simple one mile hike out and back, and is another great place to view the endless blanket of trees.  The trees in this area were starting to turn, so I got some color in this image.  The bluff runs for about a quarter mile, with great views from various crags and outcroppings.  I found this puddle and thought it gave the rugged ledge some added interest.

King’s Bluff Overlook

Tanyard Creek Falls is one of my favorite spots in the Ozarks.  It’s just north of Fayetteville, has a parking lot and restrooms off paved road, and is a short hike on a well manicured trail.  The creek cascades over several bluffs and rocks for about a half mile below the falls, giving many places with interesting views to explore.  In this image, I am fascinated by the many angles and cascades the water makes where it lands on the flat rock, the great color and texture of the leaves in the foreground, and the cool roots on the other side of the falls.

“Tanyard Creek Falls”

The Ozarks are really beautiful, and I can’t believe I had never thought to go down there before–it’s a short drive to get to such a unique place.  I have never seen so many trees, nor driven so many winding roads.  Some day, I hope to get down there when the leaves are in full color. as I can’t even imagine how amazing that must be.  If one can get there after a good soaking rain, the falls would all be swelled to capacity and it be an incredible sight to behold.

Yellow Rock Overlook

Tanyard Creek Falls Detail

Tanyard Creek

Tanyard Creek Falls

Dogwood Creek

Falling Water Falls

Six Finger Falls

King’s River Falls

King’s Bluff Overlook

Haw Creek Falls

Indian Cliff Falls–Dogwood Canyon

The entire area has a different feel to it in the Winter, as there are very few people around.  Everywhere I went, I had the freedom to set up wherever I wanted and I didn’t have to worry about people in the images.  That was nice.

Deerfield Lake

Iron Mountain Road tunnel view

Iron Mountain Road tunnel view

Profile

Mount Rushmore

A view from Deerfield Lake road.

I started right on the Eastern edge, and explored Devil’s Tower National Monument for a couple days. I hiked around it for a day, exploring different views and angles. I hadn’t seen it before, and it really is a sight to behold. My favorite image from that area is my night shot with the Milky Way visible over a silhouette of Devil’s Tower.

I then spent a couple days exploring the Big Horn Mountains in Central Wyoming. There are many beautiful views and vistas to behold, but the sky wasn’t cooperating, and much of my time there was overcast. It is a gorgeous area, but the essence is difficult to capture in an image.

I spent the last of my week in one of my favorite places–the Grand Tetons. I had been there about 15 years ago, and have been longing to get back ever since. I only spent a day exploring, but I was up for sunrise at ‘the most photographed barn in the world’, and had great light that morning as I explored Schwabacher Landing–one of my favorite areas there.

The trip was a great success, as I got several images I carry in my booth at art festivals.

The camera is a creative tool used to make artistic images, much like a pencil or paint brush. It is much more limited, in that it captures only what is in front of the lens, rather than creating whatever the artist imagines. This makes photography a uniquely difficult art form, as the photographer must find the scene, with the weather conditions they desire, at the correct time of day and year, and with the sky they desire. However, it is not without artistic control–shutter speed, viewing angle, exposure, filters, depth of field, and an array of techniques can create interesting effects to make images more interesting and convey different moods.

One of the most common settings used to change the feel of an image is shutter speed. A longer exposure will allow objects in the image to have motion blur. I most commonly use this in landscapes with water, but it can also be used on clouds, crops, grass, or with anything that’s moving through the scene. One can also use a slower shutter when panning to give the background blur which gives a feeling of speed to a clear subject. How much motion blur to use is simply an artistic decision–there is no right amount, it’s whatever the photographer chooses based on their own tastes and desired effect. I recommend experimenting at every opportunity, and taking every composition with many different shutter speeds, so the images can be viewed later at full size to determine which you prefer.

I primarily use motion blur with water, and many different feels can be created with the shutter speed. An image of a waterfall captured at metered exposure (1/250 to 1/1000) will freeze the splashing and show the drops in the air, while a quarter to half second shutter speed will give some blur, but retain most of the turmoil in the splashes. A full second exposure gives much more smoothness, with some texture, and several seconds will create a feeling of creaminess with no detail or texture to the water.

Slower shutter speeds–longer exposures–are primarily achieved with filters, but often slow enough shutter speeds can also be achieved by using a small aperture and a low ISO. I always use a polarizing filter when shooting outdoors, which slows all exposures to 1/4 of the speed without it, so I can often get down to a full second using a small aperture and an ISO setting of 100. Slower shutters will require neutral density (ND) filters, which block some of the light without affecting color. The filters are designated with a number that indicates how much light is allowed through–an ND4 allows one fourth of the light through, an ND8 allows an eighth of the light through, and so on. Some may find it easier to think of the number as how much it will multiply the shutter speed by–all other settings left alone, an ND8 will require a shutter be open 8 times longer to get the same exposure. I have an adjustable ND filter, which comes in vary handy, as it allows me to quickly try several shutter speeds, and make my final decisions at home when I can see the images on a large screen.

One quick note–it will often be impossible to see well enough to compose the image or for the camera to focus with how little light is coming through, so composition and focusing will often need to be done before putting the filter on.

Here are some examples with shutter speed…