With the colors being primary, I tried to cut extraneous elements, resorting to a white vignette and a bleaching of surrounding areas.  I applied several filters with NIK Software’s Photoshop plugin, Color Efex Pro 2. This is what I got:

Further experimentation netted me a more diffuse, pastel version—somewhat dreamy:

So far, these photos did not fully evoke a feeling parallel to what I felt when shooting them. The next day it snowed, so I went back and got essentially a “straight” shot.

Still not evocative.

On the third day, after the snow stopped falling,  I returned and got these:

Although the colors, coral and green, were not prevalent, they show boats in a winter setting and are reasonably composed. But they lacked an indefinable “magic.”

Sunday morning (March 10), after the skies cleared, the snow melted, the tide rose, and the water flattened like a mirror, I captured some magic, at least in terms of my own sensibilities.

—After shooting this session, I identified the dinghy as a “Fatty Knees,”
designed by Lyle Hess about 70 year ago. Until a few years ago, it was
built by Edey & Duff of Mattapoisett, Massachusetts. After they went out
of business, David Foynes of Sagamore Beach, MA, started building them.

Over the past few years, I’ve been experimenting with converting some of my color images to B&W using Photoshop’s Black & White adjustment layer. When activated, you move sliders corresponding to red, yellow, green, cyan, green, and magenta to selectively change the tonality in the image. You can thereby emphasize main elements by strategically adding and reducing contrast.

Another effective way to convert color photos to B&W is with NIK Software’s Silver Efex Pro 2.0. This Photoshop plug-in creates a layer above the original color layer. It has a wide range of tonal suggestions and custom tools. You can start from scratch or pick a preset (38 suggestions) then modify to your taste.

With Silver Efex Pro 2 you can globally or locally control contrast, detail (structure), mimic film type, and apply various color filters. When satisfied, you can then finish your piece with vintage toning (other choices available), a vignette,  or any number of image borders.

I have used both methods to transform color to black and white. On some occasions, I retain selective color. This is done by creating a mask in the B&W layer then “brushing out” the selected elements. Here you are essentially erasing the black and white parts on the top layer to reveal the color from the layer below.

I’d like to share some of these photos here:

“Officer’s Stateroom—Balclutha”
—In sailing vessel in San Francisco’s Hyde Street Maritime Museum.

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“Bowsprit”
—Salty wooden sailboat at mooring in Huntington Harbor, NY.

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“Guidance”
—Classic way-finding instrument—a Constellation compass,
onboard the Mary E out of Essex, CT.

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“Huntington Light”
—Positioned in Huntington Bay at the entrance to Huntington Harbor, NY.

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“Patina Prop”
—An oxidized bronze prop on vessel in Greenport, NY.

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“Sagittarius Fire”
—About 11 pm—Montauk. A summer custom is to
hang out at the beach by a campfire.

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All images are produced on archival canvas or satin-finish photo paper. Please contact John for sizes and prices. Thanks.

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At ease momentarily between bookends of lichen.

Assawoman Bay and Isle of Wight Bay separate Fenwick Island from the Maryland Eastern Shore. Ocean City occupies the southern half of the island. The land in this photo is the Isle of Wight. I shot the sun as it descended for about an hour. I like the geometry of this photo, which I call, “Grazing.”

Broadkill Beach is just north of Lewes, Delaware, on Delaware Bay.

North-northeast of Silver City, Idaho, in the Owyhee Mountain Range.

Early December 2012, I visited my former college geography professor, Dr. Lou Paganini. He lives in Gainesville, FL. He’s 92. (For an earlier “Lou Paganini” account, please see Reconnecting with a Friend: Deja Vu.)   I write this blog as a tribute to Lou and his contemporaries who show a zest for living, have a sense of humor, are spirited with their opinions, are still gadding about (albeit with a cane), and have a smile that only hints to the contents of their minds.

I mentioned in an earlier post that I would like to present images that can stand alone, without the context of words, without a story to give it meaning. In these cases, the viewer may provide a context in which to view the image. A photo may have zero meaning for one person, but have significant meaning for another, depending on the viewer’s field of experience.

When I took this photo, I was intrigued by the effects age, weather, and salt water had on the character and appearance of the bolt and surrounding wood. The meaning at the time was essentially literal. Here we see an encrusted bolt slightly larger than a half-dollar. It’s simply a fastener on a dock on the northern coast of California.

Although taken years ago (when shooting with film), I had not shared this image. I came across it the other day while browsing my archives. When it appeared, I saw for the first time, a figurative meaning.

For me, it now represents a portrait of Louis A. Paganini and all of those people who are old and somewhat worn, but still have an aura about them.

I recognize this photo was not shown without my story. I provided my personal interpretation of an image. Some of our older generation may find it offensive to be compared to “an old rusty bolt.” Some of you may find it amusing. Others may find it insightful. I’d be interested to know what you think; or if you have another take, based on what you “bring to the photo.”

Below is a portrait of Lou taken during my December visit.

If you were a student or colleague of Lou’s and wish to leave a comment, please do. Thanks.