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A few years back I was in southern California and spent the day at the Getty. The crowds were minimal and the weather promised an early Spring. The view stretched to the coast unhindered by the usual horizontal brown streaks, and a deep blue sky with voluminous billowy clouds floated overhead. The shadows were strong without the light being overly harsh. It seemed the perfect set of conditions to forego my visible light cameras and walk instead in the world of infrared photography.

Shooting with two different infrared-converted Pentax DSLRs at focal lengths ranging from 14mm to 70mm I was able to capture interesting compositions. The bright-white clouds contrasted with the deep black sky and both provided the perfect backdrop for the play of light and shadow in the near distance. The Getty Center, designed by architect Richard Meier, features his trademark white architecture, in this case white panels overlaid on a curving, even sensuous, framework. This is juxtapositioned with arrow-straight beams and walkways. Superimposed on all are multiple impressions of grids: in the walls, the windows, the stairwells, and railings. Occasional walls and foundations of rough-hewn, pale ochre stone act as a marked and organic contrast to the mathematical equation of the main metal and concrete structures.

The fun begins immediately after stepping off of the tram in the Arrival Plaza (you take a small ‘people-mover’ from the lower parking lot to the Getty complex, per se). Most people quickly shoot their first of many tourist photos here standing in the front of the wide ascending steps leading to the Museum Entrance Hall. This building yields the classic undulating pose featured in brochures, articles, and so many folks’ photographs. But having shot it from ground level a few years back, I wanted a different view. That’s what led me to climb the steps leading to the upper floor of the oft-ignored restaurant building. This put me at a level to shoot the curves of the main building straight-on, but more importantly gave me lots of lines, curves, patterns, light and shadows to play with as I worked my way around the structure.

From there my wanderings took me to the Research Institute Exhibition Gallery, the gardens (which were too crowded), the West Pavilion and back to the Museum Hall. When my day at the Getty was finished I had not even ventured into the Main Plaza, much less the North, South and East Pavilion buildings. No worries: something left for a return visit.

Exploring the lines, angles, patterns, light and shadow of architecture can not only be a visual and intellectual joy but it also can yield rich and compelling images, especially if you take the time to really work it.

Words and Images Jeff Clay

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From the parking lot I trudged through the snow with my camera in my coat and made my way to the waterfall. It really is a set of three main falls emptying into a river that gracefully curves around an outcropping. On clear days the mountain looms impressively in the background. I was first here seven years ago on a cloudy summer day. I waited for about 15 minutes and finally got a bit of sun on the mountain, as seen here. This time in the whipping snow, the shape of the mountain was only hinted at. i thought at the least I would descend to the end of the path and photograph the falls and call it good. Slipping and sliding my way down the path i got to the end and proceeded to shoot bursts of images, with the plan to blend them in post-processing to create the nice blurred effect of falling, flowing water. There was no way I was going to fiddle with a tripod in those conditions. After a minute or two of that I started climbing up the path until I got to approximately where I set up my tripod 7 years before, and lo! The lovely shape of Kirkjufell began appearing out of the gauzy whiteness. The snow was still falling, though not as intensely. After waiting another minute I began shooting hand-held vertical bursts with the intent of creating a panorama. I quickly shot five frames comprised of 10-15 exposure bursts and thought: not ideal, but I think this will work!

Later, in our Reykjavík before flying home the next day, I processed the image. Each frame comprised of multiple exposures I stacked, aligned and blended in Photoshop to achieve the water-blurred look I was looking for. Then the five resulting images were photo merged as a panorama in Lightroom. That large image I then brought back into Photoshop for cleanup, to add contrast, and to sharpen. The image above, I think, attests to the values or persistence and patience in photography!

Words and Photograph Jeff Clay

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Words and Image Jeff Clay

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One thing that can’t be argued though, is that Antelope Island is by far the largest island in the lake. It is also the most visited island and one of the reasons is to view the island’s wildlife. The ubiquitous bison, large mule deer, the rarely seen bighorn sheep, wily coyotes, shy bobcats, numerous different bird species and of course the pronghorn “antelope,” for which the island is named. It has been recorded that John C. Fremont was the first non-native human to explore the island (in 1845) and named the island after the animals he shot for food. Three years later the Fielding Garr Ranch was established and the island began its long transition from natural environment to open-air stockyard for sheep and cattle.

The irony is that prior to their successful re-introduction to the island in 1993, the pronghorn was reported to have ‘disappeared’ in the 1930s. I have tried to determine how a species can disappear from what was then a closed environment (no causeway) but given our animal husbandry track record at that point and the fact that in the ’20s and ’30s there were over 10,000 sheep foraging on the island, I can certainly imagine their fate. The happy news is that they are back and with a herd of around 200 are thriving quite nicely. 

The irony is that the “antelope” of Antelope Island — and indeed, of North America — are not in fact antelope at all. Correctly they are called pronghorn and are the last living species of a biological family whose closest relatives are…giraffes and okapi! Strange, but true. But, we can easily forgive the early explorers and settlers their taxonomic tribulations as the pronghorn certainly much more closely resemble old world antelope than giraffes!

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