nature

Photography  /  PotD
The Joys of Natural Light
May 31, 2015
charles i. letbetter

charles i. letbetter

A Little Gaga (2010)

It’s that I don’t like white paper backgrounds. A woman does not live in front of white paper. She lives on the street, in a motor car, in a hotel room. -Helmut Newton

[one_half padding=”4px 10px 0 4px”]There will be no white paper backgrounds this week. White paper has its place. I have whole sets of images shot on it, but they will never be among my favorites. I am, fundamentally, at my happiest when I’m shooting with natural light. We are looking specifically at natural light photos this week for just that reason: to make me happy. While I hope they make everyone else happy as well, I’ve not been able to shoot a great many of these images in a while so it’s nice to take a look back and be reminded.

Specifically, the images we’ll share this week are all indoor with natural light. There are two important distinctions here. First, there is a difference between natural light and ambient light. Ambient light can include artificial light, reflected light, and any other light source available. With ambient light, one can have light coming from several different directions at the same time, which can diminish the appearance of shadows. Natural light is strictly that which comes from the sun. When shooting natural light indoors, that means it is being diffused at least through glass and often through some form of drapery as well. The light is about as soft as we can possibly make it, which in turn makes for very soft edges and easy motion blurs.

We’ve also made the decision to not include any black and white images this week. Helmut would not be happy about that; he quite disliked color transparency film and the difficulties that came with processing. We’re not working with film, though, and have an infinitely greater number of processing choices than did Mr. Newton. To that end, we did re-process all of this week’s images using the identical processing on each one to provide some visual continuity and minimize some of the less appealing factors of digital processing.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Natural light, indoors, in color, has some very natural challenges. The first is noise, or grain if one is still shooting film. While newer cameras minimize the amount of noise in low light, that’s not the instrument with which I’m working and to some degree I like that. There has always been noise/grain in low light images and to some degree I find it disingenuous to expect natural light imagery without it. This race for the “perfect” image is unnecessary and removes from the natural creativity of the medium. There’s something to be said for working with the light to minimize the noise effect using things such as pose and position rather than technology.

Motion blur is also a frequent issue with natural light, because of our need to use slower shutter speeds. I have mixed feelings about blur. There are times when I feel it adds a sense of motion to an image, especially when the image is of a more editorial nature. At the same time, it is admittedly frustrating as hell when every aspect of a portrait is perfect except for the movement of a couple of fingers or the jingle of dangling earrings. You’ll see a couple of images this week where I think the motion works, but know that sometimes, especially when the subject is not a model, the blur isn’t always attractive.

Natural light photographs are, in my opinion, their own form of beauty. They are, especially in this digital age, a very separate and distinct genre. Low processing, no air brushing, and an emphasis on the relationship between the subject and the light are factors distinctive to this week’s photos. Taking pictures in natural light is one of the most basic forms of photography, and it can almost be the most enjoyable. I hope this week’s pictures make you as happy as they do me.[/one_half_last]

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PotD  /  Social Commentary
Not Quite Naked: Unspoken
May 23, 2015

charles i. letbetter

Undisclosed (2011)

When women pose thoughtfully and artistically – in nothing but their bare skin – they find themselves. They discover that they are truly alive. They become a Nude. -David Allio

[one_half padding=”4px 8px 0 4px”]All this week we’ve been talking about being naked and how social media inherently dislikes anything too close to showing a nipple. We’ve talked about artistic purpose and artist intention and all the other topics that are inherent any time someone posts a picture that just might make those of impure thought a little uncomfortable. Fact is, no matter what kind of picture one puts online, there is always going to be someone who objects for one reason or another and someone else who is secretly  perverting it in their own way. Nothing we do or say is ever going to change that.

What we can do, however, is make sure the act and conversation around being naked isn’t dominated by the negative. We don’t need to be shy about being comfortable in our own skin and no one has any right to judge or speak maliciously of someone who prefers to not wear clothes. Being naked should not be limited to works of art. People who enjoy living au naturale should be able to take selfies just like anyone else without needing to censor who they are or what they are doing.  Nudity should be as casual a part of conversation as might be the coffee one had for breakfast this morning or replacing a belt on the vacuum cleaner. No one should be made to feel they have to hide such a normal part of who they are.

I have to admit that the conversation is doing better today than it was a mere 15 or so years ago. On the backside of the freewheeling 60s and 70s came a knee-jerk conservatism that had everyone buttoned up and anything that might be remotely considered sexual was demonized. If one was naked, the public perception was that one was also likely doing drugs and having sex with multiple people and not raising their children correctly. Discovery of HIV and the subsequent AIDS panic didn’t help because during that initial period where we weren’t sure exactly what caused the virus anything that could possibly be considered sexual, including kissing and holding hands, was demonized. Fear drove people to chastity.[/one_half]

[one_half_last padding=”4px 4px 0 8px”]Getting past those unrealistic and misinformed fears has been quite a chore but from that has come an even stronger urge to make being naked more socially acceptable. We’ve already discussed the Free The Nipple campaign, which is a wonderful thing, but there are also those who look at nudity as a form of expression to be protected under the first amendment of the U.S. Constitution and judges have begun upholding that right. Portland, Oregon’s annual Naked Run sounds like a lot of rebellious fun, but it is actually designed and intended as a means of peaceful protest, again protected by the Constitution. You have a right to be naked without that nudity being sexualized by someone whose own mind can’t be trusted.

Early in the 20th century, before all those stupid wars and politics got in the way, there was a strong naturist movement across Europe. During that period, doctors were actually prescribing patients to be naked, especially outdoors. The well-to-do would commonly hold tea parties on their patios that were completely sans clothing. Not only were these events largely asexual, but children were also included and there was no fear that a child seeing a naked adult might have any adverse effects. Quite the opposite was true. There was a greater acceptance of homosexuality and other lifestyles during this brief period than there has been at any time since.

Can we again achieve such a level of casual nakedness? I’m not too terribly optimistic  just yet because the Internet has allowed those who would impose their own morality on the world a level of volume larger than their actual size. One thing of which I’m certain, though, is that being naked is not something that needs to remain unspoken. Be proud of who you are, the skin you are in, regardless of your size, age, or sexuality. And if someone doesn’t like that, allow them to go away and deal with their problem on their own. [/one_half_last]

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Music  /  PotD
Summertime
May 6, 2015

charles i. letbetter

That “and” is worth a great deal of attention. I would write “Summertime when” but that “and” sets up a tone, a whole poetic tone, not to mention a whole kind of diction that is going to be used in the play; an informal, uneducated diction and a stream of consciousness, as in many of the songs like “My Man’s Gone Now.” It’s the exact right word, and that word is worth its weight in gold. “Summertime when the livin’ is easy” is a boring line compared to “Summertime and.” The choices of “ands” [and] “buts” become almost traumatic as you are writing a lyric–or should, anyway– because each one weighs so much. [Joanne Lesley Gordon, Art Isn’t Easy: The Achievement of Stephen Sondheim, Southern Illinois University Press, Carbondale, IL., 1990, p.13]

[one_half padding=”4px 8px 0 4px”]In my opinion, the two great American composers of the twentieth century were Aaron Copeland and George Gershwin. Without casting any aspersions on any of the other wonderful composers of that era, those two managed to find unique ways to take the American experience, both good and bad, and translate it to a tonality that is rich, vibrant, unique, and immediately identifiable. Copeland’s Fanfare for the Common Man and Gershwin’s Rhapsody in Blue may be two of the most distinguishably American compositions of that century. I grew up listening to a heavy mix of both composers, but it was Gershwin’s Porgy & Bess that captured my attention most strongly, particularly the aria Summertime. Of all the songs from this first truly American opera, Summertime captures our deepest longings not only for ourselves, but for our children.

As a child, it was Leontyne Price’s incredible voice I first heard sliding through the lazy melody of the song, the vocal line at times reminiscent of the opening clarinet slide from Rhapsody in Blue. This is a song one doesn’t rush through, its phrasing and emphasis requiring a deceptively difficult level of vocal control and discipline. Do it right, and one can feel the heat of the sun beating down, smell the cotton and the dirt, hear the water gurgling over the rocks. Summertime is a song that catches us not at the beginning of the summer when we are happy to finally be warm, but at its apex, late July or August, when we’ve grown tired of working, when the sweat doesn’t require any effort before soaking our clothes, and grabbing a pole and going fishing may be the most sensical thing a person can do.

I didn’t hear Janis Joplin’s cover of the song in 1968 when it was initially released, or if I did, it didn’t stick. Price’s version was so strong, so dominating, that my classically-sensitized ear was certain no one else could do the song justice. After the Houston Opera’s revival of Porgy and Bess in 1976 restored the full opera as initially written, though, there were a number of comparisons, at least on an intellectual level, between what Gershwin wrote and the incredible emotion Joplin gives the song. It might have taken me to the second verse before falling completely in love with Joplin’s cover that not only modernizes the song with Peter Albin’s mesmerizing guitar but embeds the emotion all the way down to one’s soul.[/one_half]

[one_half_last padding=”4px 4px 0 8px”]Based on DuBose Heyward’s novel Porgy, the song’s lyrics are based on the spirituals of the 19th century South, and while the first verse sets the stage for how things are, it is the future-leaning words of the second verse that Joplin pushes, giving strength to the phrase “rise up singin'” in a way that even Ms. Price never quite managed to accomplish.

One of these mornings, you’re goin’ to rise up singin’
Then you spread your wings and you’ll take the sky
But ’til that mornin’, there’s nothin’ can harm you
With daddy and mammy standin’ by

Today’s image, in my mind, perfectly captures the end result of Joplin’s version of the song. I could feel the song in my ears even while we were shooting this set (in a public park). Where Gershwin’s original leaves one in the cotton field, Joplin leaves one in the tall grass, lying on your back, looking up at a terminally blue sky, not a care in the world, and confident that whatever comes next is going to be wonderful. One of these days we’re goin’ to rise up singin’, but for now, it’s summertime and living couldn’t be any more easy.

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Nature  /  PotD
Urban Greenspace
April 18, 2015
charles i. letbetter

charles i. letbetter

Concert in the Park (2014). Model: Laura (L Modelz) Makeup: Danelle French Hair: Anthony Perez  Styling: Nativa Photography assistance: James Thorpe

City planners have long understood the benefit of having large expanses of urban greenspace scattered throughout an urban population. While how that greenspace is used has changed somewhat over the years, a city’s largest parks and outdoor recreation areas are consistently the places where people gather for fun, relaxation, and sometimes meaning.

[one_half padding=”4px 8px 0 2px”]I still remember the first time I set foot in New York’s famed Central Park. I was there for hours and still barely covered a third of the space the park occupies. Coming from rural Oklahoma, I had braced myself for all the concrete and steel of the metropolis, and it wasn’t like I didn’t know Central Park existed. What caught me by surprise was the reality of just how large it is and all the varied ways New Yorkers take advantage of the greenspace, both for good and, sometimes, not.

Central Park was the first such landscaped space in the United States, having reached its current size by 1863. While acquiring that much land in an already immense and densely populated city wasn’t easy, and fraught with political tension, there was little argument that the park was something the city wanted. The greater argument was over who would control it, the city or the state. By 1870, the city won that fight and from there it has possibly become the most famous park in the world, a shining example followed by other burgeoning cities all across the country.

Environmentally, urban greenspace is like gold to a city. The more people that are gathered putting off carbon dioxide, the more we need trees and vegetation to absorb what we produce and provide us with the necessary oxygen to sustain life. While no park totally makes up for the accumulation of millions of people, even small space with a handful of trees has a huge impact. Parks help with flood control, pollution control, stop soil erosion, and help keep down urban temperatures in addition to providing a balanced home for urban wildlife.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]Beyond the ecological benefits, though, urban greenspace provides people with a place to be, a place to relax, to sit under a shade tree and read, to have a picnic with family or friends, to fly a kite, walk a dog, chase a ball, learn to ride a bike, go for a jog, or just enjoy a bit of fresh (more or less) air. While urban living can be exciting and fun, the fact is we miss nature and long deeply to have it around us and to be part of the natural earth. We don’t like being cooped up all day, surrounded by four walls, looking longingly out elevated windows. We need space to get out and roam and explore and stretch.

Many cities have experimented with variations on the greenspace over the years. Some have put in large ponds, streams, or other water attractions. Others have put in playgrounds for children, though most were later removed due to rising insurance costs. Still others provide tennis courts, basketball courts, and little league and softball fields for organized recreation. As soccer has become increasingly popular we’ve seen space reserved for youth and adult league games. Portions of large parks have been converted to major  music venues, offering concerts of all varieties in an atmosphere where one doesn’t necessarily need a ticket to listen and enjoy the music.

Benefits of urban greenspace are endless and for photographers especially they provide countless opportunities to capture seasonal natural beauty while also providing a dynamic backdrop for portraits. So, we end this week’s look at the urban outdoors celebrating the great parks around the country. Let’s go now and enjoy![/one_half_last]

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Art  /  PotD
Art On The Urban Wall
April 16, 2015
charles i. letbetter

charles i. letbetter

D on the Square (2013). Model: Diablo

Graffiti that once was considered the bane of urban existence is now a recognized and sometimes highly sought after art form unique to the inner city. All over America, cities are electing to brighten once-blighted neighborhoods with murals and other forms of street art. The biggest challenge? Finding them.

[one_half padding=”4px 8px 0 2px”]We frequently travel across a little stretch of road that is strictly utilitarian in nature. There’s no reason for its existence other than to connect one part of town with another. The asphalt runs adjacent to a railroad track with a hospital at one end and an industrial area at the other, but there is nothing useful in between, simply overly-littered clumps of weeds and dirt the department of public works tries to clean up occasionally. Then, just last year, the city decided that the area needed some sprucing up. So, they commissioned a large mural to be painted under the stretch of Interstate 65 that dissects the area. The mural is very attractive, very bright, and appropriate in its depiction of the people who live in the area. Hooray for public art!

Yet, the rest of the area, even the right-of-way between the mural and the road, remains a blight. Trash still punctuates the aesthetics of the road, soot still gathers on the girders of the overpass, and none of the mural is visible unless one is stuck on that very short piece of otherwise forgettable road. Might this be a case of expecting art to do more than it is capable of doing on its own? Possibly.

Cities have long had a love/hate relationship with outdoor urban art. While graffiti has been around almost as long as men have been building walls, only recently have we as a society started looking at it as a legitimate art form. Artists with names such as Banksy, Mr. Brainwash, and Retna, Shepard Fairey, and David Choe have become both celebrities and millionaires spraypainting their works on the side of buildings such as Facebook’s headquarters. What once would have gotten a person arrested for vandalism is now welcomed by many urban building owners and often comes with a very hefty price tag.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]For all that popularity, we’re still not always sure what to do with urban wall art. Today’s picture is shot in front of a very large and attractive piece of work in Fountain Square. Yet, you won’t see it as you take a casual drive through the area. The graffiti art is on a wall tucked back in an alley next to a gravel parking lot used primarily by employees of adjacent businesses. If one doesn’t know the work is there and seek it out, it goes completely unnoticed. Sticking Diablo, at the time one of Fountain Square’s better-known residents, in front of the wall might have brought it some attention had we included a map of how to find it. We like urban wall art, but we’re not always sure we want everyone to see it.

One also has to consider the fact that a lot of street art is intentionally temporary. Traditional graffiti artists never expect their work, welcome or not, to be permanent. Even under the best of circumstances, sunlight fades the colors and changing weather eventually chips away at the paint. Many walls where graffiti is welcome get completely repainted two or three times a year. If one visits an area infrequently or is unaware of an art wall’s rotation, one might easily miss a real masterpiece of urban painting.

Wall art is an exciting part of the contemporary urban landscape and photography helps preserve this all-too-temporary art form. Perhaps one day we’ll no longer relegate such creative work to back alleys and the underside of Interstate bridges. Until then, the search-and-discovery process of finding these exciting pieces is an adventure that defines the uniqueness of the urban outdoors. Get out your camera and start looking; they could be anywhere![/one_half_last]

 

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Nature  /  PotD
Covered In Nature
April 11, 2015
charles i. letbetter

charles i. letbetter

Covered In Nature (2009). Models: Rose & Emily. MUA & Styling: Kelly Oswalt

Celebrating Spring and Nature go hand in hand. Spring is when nature is at its most glorious so it only stands to reason that now is when we are most anxious to get out and immerse ourselves in its glory and grandeur, taking as many pictures as we can along the way.

[one_half padding=”4px 8px 0 2px”]Kelly Oswalt gets the lion’s share of credit for today’s photo; the concept was hers and she did all the makeup and styling. We even shot in her backyard. Kelly’s concepts often involve nature and she makes those natural elements her subject when she is behind the camera herself. Not everyone understands or appreciates how to work with, in, and around nature, but Kelly does it well.

Bonding with nature is one of those concepts with seasonal appeal. This time of year, I’m drawn to Thoreau’s descriptions of living as close to nature as possible. While there have been many others who have perhaps studied nature more deeply or lived more simply for longer, Thoreau’s gift was relating the connection between nature and life.

“The morning, which is the most memorable season of the day, is the awakening hour. Then there is least somnolence in us; and for an hour, at least, some part of us awakes which slumbers all the rest of the day and night… All memorable events, I should say, transpire in morning time and in a morning atmosphere. The Vedas say, “All intelligences awake with the morning.”

and then later he muses:

“A single gentle rain makes the grass many shades greener. So our prospects brighten on the influx of better thoughts. We should be blessed if we lived in the present always, and took advantage of every accident that befell us, like the grass which confesses the influence of the slightest dew that falls on it; and did not spend our time in atoning for the neglect of past opportunities, which we call doing our duty. We loiter in winter while it is already spring.”

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[one_half_last padding=”4px 2px 0 8px”]While few can afford to do as Thoreau did, building a cabin by a pond and then taking two years to live there and write, Spring ignites in most all of us that urge to “get back to nature,” to be outside, explore, and experience. Our desire to be part of the world, to kick off our shoes, dress down next to nothing, to feel nature as though we were born into it, is instinctive. Human evolution has not lost the primal need to connect with that source from which we originate.

As we’ve seen this week, taking pictures outdoors comes with a host of dangers and challenges. When people are involved, especially, one does not just pick up a camera, shoot leisurely, and expect images of any quality or to not endure some difficulty. Yet, for all the issues that might present themselves, for everything that one might need to consider before going out, just the experience of shooting outdoors in nature is worth whatever trouble might be involved. Even if the pictures don’t turn out as planned, one has spent the time surrounded by and hopefully enjoying all that nature has to give.

Again, from Thoreau:

“If the day and the night are such that you greet them with joy, and life emits a fragrance like flowers and sweet-scented herbs, is more elastic, more starry, more immortal- that is your success. All nature is your congratulation, and you have cause momentarily to bless yourself. The greatest gains and values are farthest from being appreciated. We easily come to doubt if they exist. We soon forget them. They are the highest reality. Perhaps the facts most astounding and most real are never communicated by man to man. The true harvest of my daily life is somewhat as intangible and indescribable as the tints of morning or evening. It is a little star-dust caught, a segment of the rainbow which I have clutched.”

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Nature  /  Photography  /  PotD
Not All Outdoors Is Equal
April 10, 2015
charles i. letbetter

charles i. letbetter

On The Rocks (2012)

Finding that perfect place to shoot outdoors can be difficult and when we do find a place that works we tend to want to keep it to ourselves. Great outdoor locations are almost as valuable, and rare, as gold. Non-photographers think we’re crazy, but experienced photographers know that not all of nature is created equal.

[one_half padding=”4px 8px 0 2px”]Mud. Muck. Gnats. Hills. Rocks. Rough terrain. If one is going to shoot with me outdoors, those are some of the conditions that one is likely to encounter. I’m not one of those people who just hop out of the car and say, “Hey, this would make a good place to shoot!” Instead, I study a location for a while, watch it in different conditions, walk it multiple times if I can, and consider exactly what I can and cannot do there photographically.

Even with all the planning I’m sometimes surprised. More water. Less water. A visiting herd of cows. For all the challenges to shooting outdoors, finding the best location may be the most challenging. Certainly, it requires the most energy.

I couldn’t get to the location where today’s photo was taken if I wanted. With all the rain we’ve had this week I rather doubt there’s a natural tributary in the state that isn’t at or overflowing its capacity. That’s the one draw-back to an otherwise almost idyllic shooting location; one I’ve used several times over the years and almost always with impressive results. Even though the location is public property, it is secluded enough I tend to consider it mine and would probably be a bit jealous if I saw pictures from another photographer taken there.

Perhaps the biggest challenge to shooting outdoors is finding just the right location that works for the time at which you want to shoot. To the uninitiated, it seems that any bright, sunny location ought to work for taking pictures. After all, if we have plenty of light and maybe some flowers and trees in the background, what more do we need? Experienced photographers understand, though, that finding just the right location, one that can be used repeatedly while still generating unique looks, is almost as difficult as mining for gold in the Midwest. There aren’t as many locations running around as one might expect.

Finding a good location is not unlike going on a treasure hunt. One can drive, and hike, for hours, through all manner of conditions, before finding that perfect spot. We don’t want it to be recognizable, because then everyone else will want to use it. We want our pictures to be unique and that means having locations different from where everyone else shoots.

Understand, there are thousands of locations where one can take a good photograph. The challenge is that for most of those locations one good, usable image is all one is going to get. No one needs a portfolio where all the photos look the same. Things such as notable landmarks, unique trees, and recognizable gardens are fantastic for that one shot, but don’t provide the long-term use for which we ultimately look.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]Everyone has their own opinions, of course, but here is what I look for in a good outdoor location:

  • Flexibility. Can I get more than one look out of a location? If I shoot from different directions and different times of day does it look like a different place? Does it work both morning and evening? How does it look during different seasons? The more I can get out of a location the more valuable it is.
  • Lighting. Sure, most any outdoor location gets light, but is it the right kind at the right time? Are there barriers between me and the sun? If so, do they make good filters? Is direct light the only option or is reflective light available as well?
  • Background pollution. Look toward the horizon and what do you see? If it is anything other than trees, clouds, and maybe a mountain, we have a problem. Power lines are the most frequent offenders, but randomly visible rooftops, or hints of urbanization in an otherwise forested setting reduce the visual impact.
  • Access. Is the location public property that can be accessed legally at any time or is it private property for which one has to obtain permission? Used to I would fudge this one, but as private property laws have changed in many states I no longer consider it worth the risk. I prefer public property whenever possible and will ask before shooting on private property.
  • Traffic. If I can get to a place, other people can as well. How well trafficked is the location? Do we need to watch for people in the background? Might people stand around gawking? I don’t exactly enjoy an audience.
  • Remoteness. How difficult is it to get to the location? The image above required a little over a mile’s hike, which is fine for a location where I don’t need additional equipment. Being remote means better privacy, but also means more difficulty getting help if something goes wrong.
  • Peacefulness. Very much a personal preference, is this a location I would enjoy even if not taking pictures? Would I just sit and read a book here? Is the place one I can enjoy just being? Such qualities inevitably transfer to the photos.

Every picture tells a story and we want every story to be different but having to find a new location for every outdoor concept is time-consuming and often frustrating. Finding one that offers multiple options all year long is like finding treasure.

And no, I’m not telling where mine are.[/one_half_last]

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Nature  /  PotD
Stormy Weather
April 9, 2015
charles i. letbetter

charles i. letbetter

Color of Spring (2012)

Nothing adds drama to a photograph quite like dark, brooding, rolling clouds in the background. Capturing those clouds, without resorting post-processing trickery, is rather challenging. By the time clouds get as dark and ominous as we might want, chances are the weather is getting feisty and that’s not a good time to be taking pictures.

[one_half padding=”4px 8px 0 2px”]Rain was still about an hour off the afternoon we took this picture. The model only had a short window of time available but was anxious to get pictures of the dress she had created for a competition. She wanted the pictures outdoors and the weather was perfect for getting the level of drama she desired. We weren’t out long, maybe thirty minutes max, but that was enough to set my weather anxieties on edge.

Growing up in Kansas and Oklahoma, one learns a lot about weather; it’s a necessity of survival. Weather forecasting back then was still in the relative stone age compared to the computer-driven real-time analysis available to meteorologists now. No matter how much one knew about the weather, usually the best tool in forecasting was having a large window through which one could look out. We were taught to respect, not fear, bad weather. Tornadoes could be avoided with some precaution, we were told. What we had to watch out for was lightening.

Stories abounded of people getting hit by tree limbs or knocked out of fishing boats because of lightening, but the incident that really drove the danger home was Johnny Bill. I met Johnny Bill (yes, that was his real name) through his grandparents my final year of college in 1983. He was the type of kid grandparents took pride in introducing to everyone. He was tall, athletic, an unruly shock of ginger hair on his head, and the kind of kid that attracted a following of little girls no matter where he went. He was intelligent, polite, and extremely kind.

Football season was still young. After school practice was critical, but Oklahoma high school coaches had strict policies about weather. Playing or practicing in the rain was acceptable, but at the first sign of lightening everyone was to be off the field. So it was this Thursday afternoon. Storms were still several miles away it seemed, but at the first rumble of thunder the coach called practice and sent his team toward the locker room. Johnny Bill was crossing the endzone, his helmet in his hand, when lightening hit. He and two other players fell to the grass. The other two slowly got up. Johnny Bill didn’t.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]Two weeks passed and then stretched into a month. His family, the school, and the entire community prayed. Hard. Doctors did everything they could to relieve the pressure on his brain, but he had taken a direct hit, effectively burning out his entire nervous system. After several weeks, the decision was made to remove Johnny Bill from life support and he passed within minutes.

A lot has changed in meteorology over the past 30 years. I’m sitting here this morning knowing that storms are, once again, on their way. Where, when, and at what strength is hardly a mystery, though. I can watch my phone and see exactly the same information meteorologists see. I know upper level wind speeds, I can see barometric pressure readings, and radar has real-time accuracy. I don’t have to wonder whether it is safe to go out. I’ve known all week, in fact, that today’s weather was going to be rough, so we didn’t schedule anything outdoors.

Would it be tempting to take advantage of the dark clouds I know will be rolling in this morning? Sure, tempting, but stupid. By the time the dark clouds are most photographable lightening is likely at its most ferocious. Just because it sounds like it is still miles away doesn’t mean the next strike won’t be right on top of you.

For that reason, I’m not bothered too much by photographers enhancing skies in post-processing, provided it is done well. I would much rather see a carefully used photoshop brush than an obituary notice. Little of what photographers encounter has the ability to be lethal, but lightening is one element of nature that’s never worth the risk. Please use some common sense before going out into stormy weather.

And perhaps consider learning how to photoshop clouds really well.[/one_half_last]

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