Taken in Yosemite National Park, California
Rich Smukler specializes in Landscape and Fine-Art Photography from his studio in South Florida. His works have been featured in numerous museums, galleries and private collections internationally. You can see more of his works at http://www.richsmuklerphoto.com. (Kick back and stay awhile).
The Morikami Museum and Japanese Gardens in Delray, Florida has 16 acres that surround Morikami’s two museum buildings and include expansive Japanese gardens with strolling paths, resting areas, world-class bonsai collection and lakes teeming with koi and other wildlife. The wider 200-acre park features nature trails, pine forests and picnic areas.
Rich Smukler currently resides in Boca Raton, Florida. His works have been featured in numerous museums, galleries and private collections internationally. You can see more of his works at http://www.richsmuklerphoto.com. (Kick back and stay awhile)
Explore the Surreal with Infrared Imagery
Conventional photography endeavors to capture the light that the human eye can see. Infrared photography captures light outside the spectrum of the human eye, just past the red bands that we can see in the rainbow, to simplify.
Your conventional camera is set up to block infrared rays which prevents this type of imagery, as opposed to special infrared lenses and filters or cameras dedicated exclusively for this type of photography. The results, as you can see from some of the images I have displayed here, produce an another-worldly, ghostly and surreal feel. You will need to suspend your sense of reality and enjoy them for their aesthetic beauty.
I have posted a series of infrared images to my website at www.richsmuklerphoto.com. Go to “images”, “infrared”, then click on the images individually or enjoy the slide show.
If you have any questions about this fascinating style of photography, please feel free to contact me.
Rich Smukler Photo
Alexandria Museum of Art’s 27th Annual September Competition Exhibition
Date: September 5 – November 22, 2014
Location: The Alexandria Museum of Art, 933 Second Street, Alexandria, LA 71301
Any questions concerning the exhibition can be directed to Megan Valentine, museum curator and registrar. phone: 318-443-3458 or email at megan@the museum.org
The 2014 Virginia Academy of Fine Arts National Juried Photography Exhibition will be celebrating its opening reception Friday, September 5, from 5-8PM, with an informal talk at 5:30PM by Jeffrey Allison, this year’s distinguished juror. Mr. Allison has taught photography for over 25 years throughout Virginia and served on the staff of Abingdon’s William King Museum.
Unveiled for the first time will be Conical Dance, by Rich Smukler, a haunting black and white piece that is both multi-levelled and textural.
The Academy of Fine Arts
600 Main Street
Lynchburg, VA 24504
(434)528-3256
Rich Smukler currently resides in Boca Raton, Florida. His works have been featured in numerous museums, galleries and private collections internationally. You can see more of his works at http://www.richsmuklerphoto.com. (Kick back and stay awhile)
Have you ever considered where the lush and vibrant colors and shades of ochre pigment come from? Situated in the Luberon, at the foot of the Monts de Vaucluse, the village of Roussillon provides the answer. Nestled in the heart of one of the biggest ochre deposits in the world, Roussillon is famous for its magnificent red cliffs and ochre quarries.
The red, yellow and brown shades of the earth form a striking contrast with the lush green pine-trees. The vivid blue of the Provençal sky and the exceptional quality of light make this a magical site. It is like an artist’s pallet, with the infinite combinations of colors varying from yellow to purple with all the shades of pink and red in-between.
The ochre façades of the houses are magnificent… shades vary subtly from light yellow to dark red, set off by the brightly painted shutters and doors. Numerous artists, naturally, have been seduced by Roussillon: Jean Cocteau, Carzou, Buffet, Ambrogiani... to name a few.
The images I’ve included in the current post print beautifully on canvas and archival-treated paper. But don’t pass up the opportunity to see the way these images pop out at you when printed on metal. They are magnificent and can be printed in any size and configuration that your spatial needs and creative desires call for.
As recently announced, for the third consecutive year Rich Smukler will be exhibiting at The Connecticut Academy of Fine Arts’ annual juried exhibition. The opening reception and award presentations will be Thursday, June 26th from 6PM to 8PM. Artists whose works are exhibited for three shows are bestowed with the honor of elected member.
“Given the quality of the art in the CAFA exhibitions, I am extremely honored.”
It was a cold and dreary day in Stonington, but The Lady Neptune stood tall.
Swamp’s Edge will be introduced at MARINMOCA / The Marin Museum of Contemporary Art
as part of the 2013 Summer National Juried Exhibition located at 500 Palm Drive, Novato, California.
It’s been a long hard week in Death Valley and it is time to pack it in. I only introduced you to some of the many wonders that the area has to offer. It is really something that needs to be experienced personally and in your own way. On a great tip, I headed towards Rhyolite, Nevada on my way back to the airport in Las Vegas. I have an affection for architectural decay and this old town does not disappoint.
Located in the Bullfrog Hills in Nye County, Rhyolite is about 120 miles (190 km) northwest of Las Vegas near the eastern edge of Death Valley. The town started in 1905 is response to the discovery of gold in the nearby hills. It is reported that the population rose to near 5,000. Unfortunately, by 1911 the mine closed and the town soon died out.
With a few more shots in my pocket, it is time to head home. Thanks for joining me
Happy Shooting!
http://www.richsmuklerphoto.com
It’s 4:30 AM and a few hearty photographers are starting to set up their tripods and await the dawn. It is quiet, very quiet. It is windy and cold. I struggle to keep the tripod steady. I’m already dreaming of my first cup of hot coffee. I attach my headlamp to see the way. I’m fearful that my lens or camera has seized up. Without my gloves this would be a fool’s errand. I panic, return to my car and reset. I do not want to miss the sunrise. It comes and goes so fast. Maybe 30 minutes tops, then it is over. This can be said for both Dante’s View and Zabriske Point, though Dante’s Point was much colder. I shoot them on consecutive days, but will discuss them each in today’s Post. They are both magnificent and should not be missed.
Dante’s Peak, Death Valley is a viewpoint terrace at 1,669 m (5,475 feet) height, on the north side of Coffin Peak, along the crest of the Black Mountains, overlooking Death Valley. Dante’s View is about 25 km (15 miles) south of Furnace Creek in Death Valley National Park. This spectacular view is named from Dante Alighieri, who wrote the Divina Commedia (Divine Comedy), in which there are described the nine circles of Hell, the seven terraces of Purgatory and the nine spheres of Paradise. For those of you who might be Star Wars junkies, it is a filming location in Star Wars Episode IV: A New Hope.
Zabriskie Point is a part of Amargosa Range located in eastern Death Valley Valley and noted for its erosional landscape. It is composed of sediments from which dried up 5 million years ago, long before Death Valley came into existence. This location was used to represent the surface of Mars in the film Robinson Crusoe on Mars.
The photographers line up on their selected vantage points and wait. An occasional test shot to see where the light is. Then it sneaks up slowly and BANG!!!! The cameras jump to life, like a bunch of fishermen waiting for a strike. And here it is. Have everything ready to go. No room for mistakes. The slowly awakening sun kisses the landscape, rises, and the majesty soon disappears, hidden for another day.
That’s it! Off to find some coffee and breakfast. I have a couple of afternoon locations in mind, so stick around.
Happy Shooting!
Rich Smukler
For the rest of the week we will be bunking at The Hotel at Stovepipe Wells, Death Valley. This is not The Four Seasons Hotel, make no mistake! In fact, the movie “Mad Max” comes to mind. The rooms are clean, large and extremely basic. Wifi is spotty at best. Telephones are non-existent in the rooms and there is essentially no cell-phone coverage (calls must be made from the spare number of phone booths on site). There is a restaurant and bar. I will be polite about the food in the restaurant. The burgers and beer at the bar are just fine, especially if you want to shoot a game of 8-ball. Across the road is a general store and gas station where you can stock up on water, snacks, food and fuel. If you are truly looking for top-notch accommodations, consider The Furnace Creek Inn and Ranch Resort around 26 miles down the road. You will pay substantially for this luxury, however.
A brief thought on the issue of no phone or computer service: It can make you a little nervous at first, especially if you are addicted to these electronic toys, as I am. But after you get over the fear that the world will somehow come to an end if you are not tuned in, the world gets more serene and beautiful. You can see better. Your photography will soar, if you allow it to do so.
Just down the road is Mesquite Flat Dunes. These dunes are the best-known and easiest to visit in the national park. They are located in central Death Valley and accessed from Highway 190 or from the unpaved Sand Dunes Road. Although the highest dune rises only about 100 feet (compared to 680 feet at Eureka), the dunes actually cover a vast area and provide quite a different subject matter. Many first time visitors to Death Valley are surprised to find that it not covered with a sea of sand. Less than one percent of the desert is covered with dunes. It just so happens that the first two locations of our tour of Death Valley are duned areas. The benefit of Mesquite Flat over Eureka is its proximity to your room back at Stovepipe Wells. It allows you to make return visits to shoot based on your decisions over lighting, cloud-layer, etc. The remote location of Eureka Dunes pretty much kills off this flexibility, unless you are willing to set up camp. The suggestions I made about dune-shooting at Eureka in my prior post applies similarly to Mesquite.
Happy Shooting
See Rich Smukler’s work “Jessie” at The Connecticut Academy of Fine Arts 101st Annual Exhibition (CAFA).
“Jessie” was also exhibited at the (SDAI) San Diego Art Institute / (MOLA) Museum of the Living Artist (San Diego, California 2009) and is currently part of The American Juried Art Salon: Fine Arts Show 2011 (on-line). It is also published in Photographer’s Forum Magazine / Best of Photography 2011 (Serbin Communications), and was exhibited at The Elliott Museum (Stuart, Florida 2012) and The Saco Museum Mill-ennial 2012 (Saco, Maine).
The CAFA OPENING RECEPTION AND AWARD CEREMONY is scheduled for the evening of Thursday, JUNE 7, 2012 from 6 to 8 PM at the Mystic Arts Center located at 9 Water Street, Mystic, Ct., 06355. Phone: 860-267-6023 for further information.
Rich Smukler’s works can also be seen at www.richsmuklerphoto.com
The “Cross” and “Jessie” cross country tour continues! See Rich Smukler’s works “Cross” and “Jessie” currently exhibiting at The Elliottt Museum’s 7th Annual Juried Art Show (Stuart, Florida) held thru March 2, 2012. These two award-winning pieces will be exhibited at The Saco Museum in Saco, Maine from April 6 thru June 10, 2012 as part of their 2012 Mill-ennial.
“Cross” is an image taken in an abandoned marble quarry in The Apuan Alps, near Pietrasanta in northwestern Tuscany. This area is known for the quality of marble used by Michelangelo. “Cross” has earned distinction at San Diego Art Institute’s (Museum of the Living Artist) 50th International Award Exhibition. It will also be on display at the The Elmhurst Art Museum in Elmhurst, Illinois from February 21 through March 28, 2012. “Jessie” was also exhibited in San Diego and is currently part of The American Juried Art Salon: Fine Arts Show 2011 (on-line). It is also published in Photographer’s Forum Magazine / Best of Photography 2011 (Serbin Communications).
The Saco Museum’s opening reception is scheduled for the evening of Thursday, April 5, 2012, located at 371 Main Street, Saco, ME 004072. Phone: 207-283-3861 for further information.
Rich Smukler’s works can also be seen at www.richsmuklerphoto.com
See Rich Smukler’s photographs “Cross” and “Jessie” at The Elliottt Museum’s 7th Annual Juried Art Show to be held from Friday, February 3, 2012 thru March 2, 2012. “Cross” is an image taken in an abandoned marble quarry in Apuan Alps, near Pietrasanta in northwestern Tuscany. This area is known for the quality of marble used by Michelangelo. “Cross” had earned distinction at San Diego Art Institute’s (Museum of the Living Artist) 50th International Award Exhibition. “Jessie” was also on display in San Diego and is currently part of The American Juried Art Salon: Fine Arts Show 2011 (on-line). It is also published in Photographer’s Forum Magazine / Best of Photography 2011 (Serbin Communications).
Due to museum construction, The Elliott Museum’s preview is scheduled for Friday, February 3, 2012 at Northern Trust Bank from 5:30 – 7:00pm. RSVP required. 2201 SE Kingswood terrace, Monterey Commons, Stuart, Florida.
Rich Smukler’s works can also be seen at www.richsmuklerphoto.com.
Over the years I have gone to hundreds of museums and galleries, studied the works of the masters, read the analyses and opinions of critics, seen and opined on the works of my fellow students and mentors. All the time, I am searching for a thread, a common denominator. What makes a piece of art wonderful, memorable or just plain awful? And within that question, I try to evaluate the body of work of that particular artist and ask whether or not this is the work of a fine artist?
George DeWolfe, in one of his master classes, fascinated me with his revealing analysis of paintings of the masters, such as Rembrandt, Degas, Cezannes, Pollack and others, as they related to development of the fine black and white photo. He took images of these paintings and reduced them to grayscale to better view the breadth of tonality in each of these pieces of art, even before photography was on the map. This was done to demonstrate some of the amazing qualities of these painters, all painting with color, but somehow fully understanding the quality of composition in its underlying tonality. They knew how to see well. Dewolfe went on to say that,
“The masterful articulation of the grayscale in these paintings is not only the key to good color, but also the essential key to creating presence in the work – the foundational element of a masterpiece.”
This is as good a place as any to start our thought process.
I confess that often I’ll go to a museum and wander through the exhibits and unfortunately, not get it. I mean that I am not moved, wouldn’t want to own it, in fact, I am angry that I am wasting my time! And yet, these exhibitions, installations, or pieces of art are often heralded by the museum, or someone of credibility, as being significant and noteworthy. I shrug my shoulders.
What does impress me however, is when an artist has over the years developed a unique and consistent body of work; pieces that would be recognizable as being that artists’ artwork years after being produced, yet, in some way, different from the earlier work. I am sure we are all familiar with some exceedingly successful artists who have a signature style that is forever recognized as being special and unique. Some of these artists, unfortunately, get caught up in their success and are fearful of leaving an established comfort zone. Others display the guts and artistry to move forward with newer and more challenging work. I say SHAME on the former, and HATS OFF to the latter.
I am willing to allow the definition of a fine artist to remain somewhat undefined for the moment. I am steadfast, however, in my belief that a fine artist will create a unique and recognizable body of work that continues to evolve as the artist explores and builds on the past. We owe a debt of gratitude to those of you that adhere to these convictions. What are your thoughts?
HAPPY SHOOTING!
You can see works of Rich Smukler at www.richsmuklerphoto.com.
Both San Quirico and Pienza are magical, ancient Tuscan towns that merit comment and will be the subject of future articles. Today, however, we will visit the extraordinarily exciting road that connects these two towns and strums the true sounds of Tuscany. For years I have driven the 6.25 miles of this amazing highway and never tire of it.
SP146 / Strada Provinciale di Chianciano ribbons through the Tuscan countryside and is the stuff that Lamborghini and Ferrari must have had in mind. Go as the sun rises or as the sun is stretching its long shadows from the west. Any time of year will reveal the many facets of this magnificent countryside. There is one lane in each direction with multiple winding curves that provide a bonanza of sight lines. At a decent speed the entire ride is about 15 minutes. Downshifting into one of the many hairpins is just plain awesome!
MAJOR RULE: DON’T FORGET YOUR TRIPOD! (Say that at least three times). I know it is a pain schlepping it across the world, but you won’t regret it. Your images will be infinitely better. Also, be prepared for some atmospheric challenges. This part of Tuscany is rural and agricultural. You may find some dust kicked up from the tractors and such. That can be also be great news for your shots, as the combination of light and dust can produce wonderful results. Be ready to clean your lenses regularly while out in the field. If you are carrying a backup camera body, I suggest you select your two favorite lenses, one for each body, and refrain from removing your lenses from their bodies while the dust is swirling. Or, you can always retreat to the car.
For a little extra delight, as you approach Pienza, look to your left for a sign to Santa Anna Comprena. This back road will take you to the 15th Century Monastery where Director Anthony Minghella shot many scenes from his movie The English Patient starring Juliette Binoche and Ralph Fienes. The setting is both serene and haunting.
It has been turned into a B&B and you will be able to shoot inside the church, both memorable and challenging.
Happy Shooting!
You can see more of my images from Tuscany at www.richsmuklerphoto.com
Having returned from a photography trip to Kenya and 
Tanzania, I was brimming over with pride at the many exotic images I captured: Kilimanjaro, the Maasai tribesmen, the Serengeti and all that Africa has to offer. I was living my dream. That’s when a cold towel slapped me across my face! At our monthly photo-group meeting I was itchy to show some of this new work. Meanwhile, one of our members was displaying some truly great images that he had just taken in his backyard! An interesting point-counterpoint crossed my mind.
What is the concept of TRAVEL PHOTOGRAPHY all about? Travel for me isn’t as much fun as it used to be. I’ve shot world-wide and have seen many of the wonders the world provides. Air travel has presented new challenges. My old bones aren’t what they used to be. Yet, there is still a rush that I get when plying my craft in new and unique locations. I see things with a fresher eye. My hometown is Boca Raton, Florida, replete with many exotic sights. However, I wouldn’t consider shooting in my hometown as TRAVEL PHOTOGRAPHY. Ironically, someone who has traveled from Africa to Florida to shoot probably WOULD. So, if it isn’t the travel that lures me, and if locations can be treated as fungible widgets, then perhaps it is something else? Perhaps it is the mindset or dedication to the craft when you are on a new location (wherever that might be)? Perhaps it is being totally focused and immersed in all things photographic when you are situated in a location that is conducive to your full attention?
Some years ago I was part of a workshop sponsored by TPW (Toscana Photographic Workshop) and led by Arno Minkkinen. Arno is the consummate instructor. He tirelessly challenges his students to be as creative and innovative as possible. One of his exercises, which caught my imagination, was a road trip that we took to Lake Bosena, situated in the Lazio region and close to the boundaries with Umbria and Tuscany. There were only about eight of us and we decided to take three cars. And though we had an end destination in mind, it was decided by Arno to stop every fifteen minutes and shoot for about ten minutes per location. We stopped once on the side of a barren field, a commercial site and a location in some hillside area. None of these locations would have typically caught my eye or called out to me to stop and shoot. Yet, the images gathered by our group from these locations were exceptionally interesting and memorable. Lesson learned: Perhaps the setting isn’t as important as the photographer and his will to see well.
Another unintentioned lesson was learned in Arno’s class. One member of our group was a young woman who was seriously injured and permanently confined to a wheel chair. Only through her sister’s love, was she able to travel thousands of miles from the United States in order to fulfill her dream of shooting in Tuscany. An amazing feat! She shared her portfolio early in the workshop with the rest of us. The main body of her work was comprised of a series of images taken from her basement apartment. Being wheel-chair bound as she was, she had a single view from a window which looked out and up on a street in New York City. The view was limited, yet her pictures were fascinating and multidimensional. She also had invited people to come to her cramped quarters and photographed them against a single wall where she produced a series of intensely moving portraits. The lighting and composition were astounding. I will never forget them or the lesson she brought to us.
I love the whole concept of TRAVEL PHOTOGRAPHY and am proud of many of the images captured over the years. Yet, I have grown to believe that it is the mindset that comes with travel that is most important. I ring this thought up each time I dust off my camera for another shoot.
Happy Shooting!
You can see more of my images on my website at www.richsmuklerphoto.com.
NOT REALLY! I’ve been a satisfied Canon user for years pre-dating digital: from the AE-1 35mm SLR Film Camera, 20D, EOS T2i, 40D and now the D5 Mark II. I have to say that I am thrilled with the D5 and am amazed at its power and versatility.
I know that some of us out there are Nikon enthusiasts and others are Canon. It just so-happened that when I was converting to digital some years ago, most of my instructors were into Canon. I started down that path and saw no reason to change, especially due to the lens interchangeability feature.
Some months ago I was shooting out in Santa Monica, California. Typically, I carry the camera with the strap around my neck (either over one shoulder with my camera to the side, or with the camera hanging in front of me). I am recovering from recent neck surgery and after several hours the weight of the camera begins to take its toll. I sought advice from a friendly neighborhood camera shop.
They came up with a two-part solution. The first was a Tamrac Neoprene Shock Absorber Strap. It a tough stretchy neoprene rubber strap that holds most digital SLRs and absorbs the weight of the camera for hours, or so they claim. It acts like a bungee cord and really does the job. The second solution was a carry bag which is big enough to hold the camera and can be worn with a built-in belt around your waist or a built-in strap that you can carry over your shoulder. I purchased a second Tamrac strap to replace the strap that came with the case. I find that the camera, when in the case, isn’t nearly as accessible for quick shooting in comparison to the camera being around the shoulder.I chose a Canon carry case. It has a front-ended pouch which can hold a couple batteries and memory cards. There is another interior compartment for whatever else you miight choose. I know that there are several brands of these cases and recommend you select the best for your particular needs.
This system works for me and I hope it is of some value to you as well. By the way, I own no stock or have any financial interest whatsoever in any of these products.
Happy Shooting!
You can see more of my images at my website at www.richsmuklerphoto.com.
See Rich Smukler’s award winning photograph “This Way” along with “Squared” currently on display at The Boca Raton Museum of Art School (Boca Raton, Florida), running through January 11, 2012. These pieces were previously exhibited at The Robert Rauschenberg Exhibition at The Museum of The Gulf Coast in Port Arthur, Texas (home of Rauschenberg’s birth).
Raschenberg is one of America’s most prominent artists (October 22, 1925 – May 12, 2008), known for his works as The Abstract Expressionist Movement morphed towards Pop Art. Not only a painter, he worked also in photography and printmaking.
You can see more of Rich Smukler’s works at www.richsmuklerphoto.com.
Getting ready for your morning shoot in Italy is similar to many of the “outback” locations you are likely to stumble upon. Get ready the night before and expect no backup once you are on the road. You are highly unlikely to find a camera store that has anything that you might need. Fugedaboudit! Have a couple backup batteries, plenty of memory cards, your backup camera body and any lens you think you might be using. I love to use my monopod as a walking cane, but your tripod is indispensable! Remember to bring your plug adapter when you travel to Italy. European electricity, as in the rest of Europe, comes out of the wall at 220 Volts and alternating at 50 cycles, whereas in the United States, 110 volts at 60 cycles per second. Most hotels and B&Bs will have adapters, but DON’T TAKE A CHANCE. Charge your batteries the night before, erase and format your memory cards so you don’t fumble when you come upon your first good shot of the morning. Clean your camera and lenses from your prior day’s shoot and double check that your settings are exactly where you think you want them to be.
A couple of other thoughts before we start our climb: good walking shoes or boots, have a nice breakfast (food and bathrooms might be a bit tricky to find, so throw some snacks, maps, water and toilet paper in your bag, just to name a few of the more obvious items). I know you are getting impatient, but run through your personal workflow (memory card management, preferred settings, etc.), and NOW (pshew!) let’s get going!!
Traveling down from Bagno Vignoni, you are only a few minutes from your ascent to the twin towns of Rocca d’Orcia and Castiglione d’Orcia. Once you are there, you might as well take them both in. They are remarkable!
Rocca D’Orcia stands guard over the Via Francigena, the pilgrim’s road leading from France to Rome. From its almost impregnable position, the local rulers had a safe spot from which to control the territory. This area was first documented back in 853 AC. and has a fascinating and complex historical significance. Your challenge as a photographer might be to capture this journey into the past.
To provide a thumbnail historical sketch: In the mid-12th century, Tentennano (as it was known) was in the possession of the Tignosi feudal family, who in 1207 granted a new statute called “Charta libertatis” to the local population. It set forth numerous rights, an act of fundamental importance to Italian medieval history both for its content and style. The Fortress passes through several families over the years and was last used for military purposes in the middle of the 16th century which saw the city-state of Siena annexed to Florence.
The defensive system of Rocca D’Orcia with its Rocca of Tentennano consists of a series of walled enclosures designed to benefit from the ruggedness of the environment. From the entrance gate you can see the ruins of another gate which opens onto a second walled circuit. The architecture of the tower provides interesting photographic challenges. Just before entering the tower, there are arch openings and a limestone wall face of which the whole fortress is built. A majestic view of the Orcia Valley, the Amiata Mountains and the surrounding countryside can be seen.
Don’t miss visiting the Village of Rocca D’Orcia which has maintained its original medieval architecture. You’ll find a charming square with a central cistern, religious buildings and a small, yet interesting country culture museum. The village is quiet and haunting. Out of dumb luck I saw the same gentleman in this tiny town square each of the two times I visited – five years apart. Not too much seems to be going on. This is a village where people live their lives quietly. There are very few tourists, except those who may wander down from the castle. I noticed a sign for a restaurant, but unfortunately it was not open on each of my visits to the town. Don’t expect to find a McDonalds!
The defense systems of the fortress were closely integrated with the Village of Rocca d’Orcia that lies below. The walls of the town contained the entrance courtyard of the fortress, and an ancient door is still visible, though only partially, in the village today. This charming medieval village is just a few minutes walk away from its neighbor Castiglione D’Orcia. It seems larger than Rocca D’Orcia and more vibrant in the sense that people are more visible, some shops were available, and overall, a greater vibe than what you find of its’ more quiet neighbor. The architecture is similar and replete with magnificent photo opportunities, both of the valleys below and the ancient-walled architecture. To visit both Rocca d’Orcia and the Rocca di Tentennano, it is best to park in the area that lies at the foot of the steep slope leading up to the Fortress. A picturesque walk along the cypress-lined hill leads to the main entrance. From there, you can stroll into the village.
Happy Shooting!
You can see some of my Tuscan images on my website at http://richsmuklerphoto.com
Every photographer has their own rhythm, their own beat. It’s the way you prepare for your shoot, the ritual you run through readying your mind, your equipment, everything you do to assist in a successful outing.
I for one enjoy the quiet of my mind and draw within when I get out there with my camera. Some, I know, prefer the companionship of comrades as opposed to the solitude that I so much enjoy.
When traveling to new countries or locations for the first time, it is only natural to seek out the most traveled or noteworthy sites. As an example, your first time to Italy will most likely draw you to Rome, Venice or Florence. They are wonderful and have infinite photographic possibilities. But this series of articles will explore some of the lesser known locations that I found along the way. They are remarkable photographic opportunities.
BAGNO VIGNONI is an ancient village in the heart of Tuscany situated in the Val d’Orcia National Park. I was first introduced to it years ago when studying at TPW (Toscana Photographic Workshop) as it had become a favorite evening hangout for many of the students.
Thanks to the Via Francigena (which was the main route followed by pilgrims in antiquity who went to Rome), … thermal waters were found and have been used since Roman times. At the heart of the village is the “Square of sources“, namely a rectangular tank, of 16th-century origin, which contains the original source of water that comes from the underground aquifer of volcanic origins. Since the Etruscans and Romans – as evidenced by the numerous archaeological finds – the spa of Bagno Vignoni was attended by eminent personalities such as Pope Pius II, Santa Caterina da Siena, Lorenzo the Magnificent and many other artists who had elected the village as main holiday resort. … Bagno Vignoni, … despite numerous incidents of war, devastation and fires that involved the Val d’Orcia in the Middle Ages, remains essentially unchanged. … From Bagno Vignoni, you can easily reach the historical centers of nearby Pienza and Montalcino, and the general Val d’Orcia area, including the Park of Mount Amiata. (Wikepedia)
The village provides exceptional photographic challenges. By day, this sleepy village hosts wonderful hillside and mountain views of the valley below. You are also treated to a haunting scene of Rocca d’Orcia (subject of my next post). The thermal waters course through the hills and carve fascinating archeological dig-like opportunities. A small park with children, the occasional hardy biker, folks staying at the nearby hotels and spas, dipping their feet in the waters, are all click-worthy. But at night, it all begins to happen! The holiday-like lights throughout the village take over from the long Tuscan setting of the sun. The Square of Sources captures the reflections from the surrounding shops and restaurants. Its’ glow is magical and tempts your skills for night shooting.
Hotels, spas and B&B’s sprinkle the area. With a little luck, you can find one just outside of town, down by the rolling Tuscan Hills. I can provide some recommendations, if you are interested. The restaurants are of typical Tuscan delight and my mouth is drooling at the very thought of the incredible red wines made in these very hills.
Happy shooting!
How to reach Bagno Vignoni: From Siena, direction SS2 Isola d’ Arbia, reach San Quirico d’ Orcia, remain on the Cassia Road (SS2) direction Rome, only 5 Kms.
You can see some of my shots from Tuscany at www.richsmuklerphoto.com
Sometimes my mind sees a potential image better than it really is. I am afraid that my previsualization is occasionally on steroids and the end result can be a disappointing capture whose time has long past.
Example: Recently on a trip to Ravello, Italy, an absolute jewel of a town on the Amalfi Coast, I was walking down a picturesque road and came upon a fabulous antiquated church. It was bathed in ivy and had a wonderful mountainside as a backdrop. Another sucker shot I thought. This was too good to be true. And of course, it was. The composition and texture were magnificent! One problem. I forgot about the light! Feh! I saw it in my mind, but forgot to transpose it in reality. The result, a dull, flat and uninteresting image that was beyond post-processing first aid. Dead on Arrival!
Sandro Santioli is thought by many to be the quintessential Tuscan landscape photographer. Some years ago I had the pleasure of participating in one of his workshops, an experience I will never forget and be forever grateful. Our group started the day before sunrise, tripods in hand and cappuccino consumed, fearlessly planted in the midst of a beautiful field outside of Pienza. We waited for the sun to appear. And it did. As it moved through the sky, clouds moved in and out of the eye of the lens. Shadows changed, images appeared and disappeared and reconfigured upon the rich, lush Tuscan countryside. And for hours I barely moved my tripod, much like a patient fisherman waiting for the catch.
By Noon the sun was too high. We retreated to one of Tuscany’s many ancient mountaintop towns for lunch and more shooting. Architectural shots can be pretty successful when the sun is high as the buildings block the direct rays and can create some wonderfully sharp and interesting images.
Not to be daunted, by afternoon we returned to the fields to yet again track the sun, this time as it moved to the west. If you have ever been to Tuscany you appreciate the long late and early evening light, so rich, colorful and warm. Same location, different results, stunning in many ways.
That evening, the sun now gone, we changed locations to inside Sienna, another wonderful feast for the eyes and lens. This time we concentrated on night street shooting with the added benefit of a little atmospheric eye-candy as a light rain provided a memorable challenge with eye-popping results.
I learned that day about patience and the light. I hope to remember that lesson the next time I come upon a sucker shot.
Happy Shooting!
You can see some of my Tuscan images on my website at http://richsmuklerphoto.com
An unlikely premise, I know. However, after many years as a photographer, I am beginning to sense a change in the way I approach photography and also the way I see life.
As a young man, goofing around with my Brownie Hawkeye camera, I would only see what the camera lens had to offer when I was actually in the process of looking into the camera and trying to take a picture. Many years and thousands of images later have led me to a totally different approach to my craft.
Wandering through the swamps, or over mountains or through the cities looking for interesting shots to take, has re-wired the way I look at things, searching for what I consider a well-seen image. I find myself driving along in my car saying to myself, “what a great shot that’d make,” or “look at the wonderful glow rim-lighting that tree!” I’d often think to myself that I wish I had my camera with me. Often I do, but sometimes I don’t.
There is still nothing that quite beats the hunt of the shoot, that is, going out and physically taking the shot and transferring it into an electronic or print image. Yet, the sadness or upset of not having my camera when a perfect moment appears is not quite as painful as it used to be. Now, I AM THE CAMERA and exhilarate in the experience. I find myself looking at most everything as though I’d be framing it in an artistic composition, making split-second, automatic decisions as to whether the light is right, depth of field requirements, etc., all the elements on my checklist as if I actually had my camera in hand. It is a somewhat soothing effect. I wonder if you feel that as well?
Happy Shooting!
you can see some of my images on my website at http://richsmuklerphoto.com Continue reading
Rich Smukler Fine Art and Landscape Photography 
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