Category Archives: Behind the Shot

The story behind the making of a photograph.

Behind the Shot

Returning For a Different View

I posted about this same waterfall a little while back. Talking about how I had pre-visualized the scene after I visited it a few times. When I was finally able to reach the falls AND there was actually water running I had my medium format gear with me. I knew the shot I wanted and that kit was exactly what I needed to get that shot.

Once I knew I had what I wanted I took another look around to see what other compositions there might be. Of course there were several others, but I didn’t have a longish lens that I needed for the Mamiya. That meant I would be back with a 35mm kit to get the next shot I saw in my head.

The set, up at a higher vantage point with a longer lens.

If I scrambled up the incline to the other side of the falls I could get just a peak of the stream that was coming down the ravine before it hit the drop. The scene also had a nice background of foliage that was a different value and uncluttered for a nice fall off up the ravine. To get this composition I needed just a little reach to frame it up, without a bunch of distractions in the frame.

This is where the longer lens came into play. I made the trek back to the waterfalls a few days after my first success with the medium format, but this time I had my Nikon 35mm and a couple of longer lenses. I hefted my gear back up the rise just off to the left of the falls and set up.

Composition through the viewfinder makes me think I should revisit with some color next time.

The composition worked just as I had hoped using the longer lens. It was a hot humid afternoon and the mosquitos were hungry. Thank goodness for bug spray. Even so, setting up with the bugs buzzing was not fun. Once I got it set up and into the zone it was a lot of fun just watching the water and the breeze flow and having this spot all to myself for an hour of restoration, regardless of the little buggers.

“Fall” Final image, Nikon N90s, Nikkor 35-135 f3.5, Kodak Tri-X, Rodinal 1:50

I am happy with the final photograph. It is pretty close to what I had envisioned in my mind. I might try another with a different developer. I used Rodinal on this roll and think it might be a little “crunchy” for this scene. I am still not decided because I have not printed the image yet. I always hold off on my final verdict until I can hold the photograph in my hands. So many times I think the image on screen is amazing, only be be underwhelmed when printed. Also, an image that is ho-hum on screen can really be beautiful on paper.

The funny thing is that now that I look at my phone snaps of the set up I am wondering if I need to explore this in color? My go to is usually black and white but lately I have been trying to develop an eye for good color photographs. I think in this case, the whole area is mostly brown sandstone and it overwhelmed my eye. But looking at the composition, with the compressed view of the long lens, now I see the nice color contrast and the warm light falling softly through the trees.

Another note in my log to return to this in the spring. Fingers crossed it’s not flooded or totally dry…

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Behind the Shot

Vision, persistence and putting them together in photography

When I moved to where I live now five years ago, I started scouting areas to see what interesting places I could find in my area that would be good to explore for some black and white photographs. Many day trips to small towns, restaurants, museums and hikes in the woods. So far, I have found some great communities, not as many great places to eat and a few hidden spots in the woods.

One particular spot isn’t far from my home. It’s only 11 miles away so it was one of the first places I discovered that I wanted to photograph. It is a waterfall tucked back into a bluff feeding into the Saint Croix River. I am a sucker for a good black and white waterfall photograph.

However, it was late summer when I came across the location. The water of the spring fed stream was low and barely flowing at a trickle. It had potential but wasn’t what it could be if it were early summer or spring. I made a note of it and thought I would return the next season.

The next season I returned in spring, but the area was experiencing drought conditions. I returned a few times that spring and early summer, but I struck out getting the photograph I had hoped to. “Next year”, I said.

The following spring there was more than average snow melt and rain. I thought “all right! this should be a great year for the water flow” I packed up my gear with great expectations. When I arrived at the trail head, which was along a larger riverbank, the whole trail was under feet of water. Strike two.

“Flow” Mamiya 645, 80mm lens, Kentmere 100 © 2025 Derek Lofgreen, All Rights Reserved

This year, I was more determined than excited to try and get this shot. I was expecting it to be low flow again, but I had to see for sure. I had an hour to spare in between some commitments, and I was in the area. I had packed my camera with hopes I could take a quick look and maybe get a grab shot and return if it was looking good.

It is a 15-minute hike to these falls from the trail head. That meant I only had 30 minutes on location to find a composition and take my shot. As I started to round the bend to the falls, I could hear something but didn’t know if it was traffic on a nearby road or the water over the falls. When I arrived at the location, low and behold, the water was flowing beautifully.

The scene below the falls was a lot more chaotic than I remembered from the last time I was there. Holding a lot of debris that had gathered after coming over the fall from the winter thaw. This presented another obstacle to my preconceived vision of the shot. Scrambling over deadfall trees, logs and forest chowder, I scouted around for a composition and set up my shot. I only had time for one set up and I wanted it to count.

I could have let the obstacles stop me from executing on my creative vision. The conditions not being right over and over, the limited time I had when I found the right conditions and the challenge of finding a composition when the location looked different than I expected. Many times, I find myself pushing through to overcome disappointment or challenge to get my final vision manifested in a photograph.

I will return to this spot because now that I have this image, I am more intrigued with the location and want to see what other compositions I can find that will convey the calmness of the flowing water.

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Behind the Shot

Color When Color Matters

Autumn is when I get my eye for color

I love black and white photographs, it really gets my motor running. But… there is a time for color photography, and autumn is one of those times. Each year I start to look at the trees changing colors and enjoy the subtle and dramatic changes that happen day to day. The cool, dryer days with the sun hitting your skin while walking in the rustle of leaves at your feet is such a magical experience.

Monochrome images just can’t capture and convey the emotions of autumn in my view. Fall is the time for color imagery. Of course when shooting with color and fall woodland it presents new challenges for making meaningful photographs.

Color itself is a whole different disciple from monochrome. Black and white photographs are already one step removed from reality, making it easier to create images that evoke emotions, memories and feelings. Color on the other hand, puts you in a box of sorts. It’s really easy with today’s digital processing tools to go way overboard, creating images that don’t look plausible. My work depends on the image to be real (ish), not a entirely a fiction but something someone may have been able to see, feel and experience themselves. At the same time having an new experience with my image.

Maple and birch trees showing their last throws of fall color.

Then there is the challenge of capturing something from the chaos of the woodland. Oh my goodness is that hard… I have my hero’s in the woodland landscape discipline and have learned a few tips. However, nothing prepares you for how hard it is to get a good clean image that tells a story or strikes an emotional chord in a woodland. There is so much chowder everywhere you look in the forest. I think I have 3 images total that I like since I have been trying to capture the magic of the forest. Countless failures.

The image in this post was literally the last one I took on a recent outing to the forest. I was failing miserably and headed for the car. Off in the middle distance I saw this maple and birch intertwined together in the last display of color for a large portion of this woodland. I chose my 300mm lens so I could reach out and isolate the trees. With the light being really low due to fog and clouds, and wanting to focus the viewers attention to the trees, I chose a faster aperture than I may have for another landscape. This worked well with the longer lens and I was pretty happy with the results.

Woodland Photo Tips

If you want to try some woodland photography here are a few tips I use. Note: your mileage may vary

  • Edit your composition. Keep only what is necessary in the frame
  • Use longer focal length lenses OR get closer with wide lenses
  • Eliminate the sky whenever possible
  • Find compositions where there is a hillside or thick forest in the background
  • Get low or get high, normal viewing height rarely works
  • Shoot when fog is present for separation from your subject if possible
  • Avoid sunny conditions. Bad weather makes for better woodland photos

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If you like the content I post here on the blog then maybe you will be interested in my email newsletter. I send them out with other news, thoughts and tips on photography as well special print offers. Add your email in the form below. You can unsubscribe anytime, you won’t hurt my feelings.