Calm Photos

The United States Air Force Museum, at Wright Patterson Air Force Base, is perhaps the most visited and well known attraction in Dayton, Ohio. Many people consider it to be the finest display of military aviation in the world.

Like most people who live here I have a tendency to take such an attraction for granted, so much so that it has been many, many years since I stepped foot inside the USAF Museum. It’s a little bit like living in Florida and never going to the beach or living in Utah and never learning to ski.

This past Sunday afternoon I finally ventured forth for a visit with my seven-year-old daughter Emma. She thought it would be “boring” and didn’t really want to go. She ended-up having a blast and loved it. We were there for nearly four hours, just in two of the three major display areas. The following are just a few of the images I was able to capture with a fairly light-weight and non-obtrusive set-up: a Canon 5D (basically the same size and weight as a Canon Rebel) with a Canon 17-35mm L lens (my favorite for interiors and considerably lighter than my 28-70mm) and my Lensbaby G3. No tripod, no bag. I just ramp-up the ISO on the 5D and shoot away.

This entry and images are dedicated to my Uncle Sandy, an Air Force ace who flew the F-86 Sabre (included in the images) during the Korean War.

I’m pleased to introduce another great print product offering from Picture Ohio, LLC - framed PhotoGlow prints. This is a ready-to-hang or display-on-easel system that includes the print of one of my many landscape, wildlife, cityscape and nature images carefully crafted on a specially made medium, which is completed here in my studio, and placed within a pre-cut mat and metal frame. But by no means is this your typical photographic print. What makes this product so unique and pleasing to the eye is the unique lighting system built directly into the frame, providing even, backlit illumination, all the way to the edges.

The prints virtually “pop” right off the wall or easel, especially at night or when displayed in a darker hallway or customer waiting area. The thickness of the frame is less than one inch, with just a very small power cord on the bottom. The lights only draw 15 watts of electricity and they have a 20,000 hour lamp life ! These prints are available in sizes ranging from 8″x10″ to 24″ x 36.”

What’s really great is that the actual prints can be changed in and out of the frame system, providing a way to display and rotate new artwork without the hassle and expense of framing each individual piece. I’ve been display a 24″ x 36″ PhotoGlow of my best-selling Blue Hen Falls print in my front window of my gallery and studio, located right off Far Hills Ave. in Centerville. I will be changing the print out over the next several weeks with images of florals, Dayton skylines and colorful wildlife.

Although I’m including a image of this print with this post, you really have to see the PhotoGlow in person to appreciate the visual impact of this product. Call me at 1-877-527-6889 or 432-6711, or complete the contact form below, if you’d like to know more or receive pricing information.

Culture Works aims new campaign at lawyers - Dayton Business Journal:

I feel bad for Culture Works. I really do. Their fight for funding is another in a long list of examples of why Dayton continues to struggle with itself and once again move into the realm of economic vitality.

Culture Works is a good organization that has demonstrated their commitment to not only help support the arts in Dayton but also supports the development of individual artists and various arts groups.

When I saw the Dayton Business Journal article my first response was “uh, you people are just now aware of this problem.” But that’s the Dayton Business Journal, which can also take its’ appropriate position, along with the Dayton Daily News, on that long list of examples of why and how Dayton continues to struggle.

Some 30 to 40 years ago corporate philanthropy was alive and well in Dayton. Both charitable and arts organizations could always count on the local leaders of several organizations to step-up to the plate and give back to the community in which they live and work.

Those days are gone.

Unfortunately the need and want for such support is just as strong as ever, however, the pool of charitable resources has virtually dried-up.

I was going to write more for this entry, but I’m going to stop with this: it’s what I’m not going to write that says the most about this situation.

Architectural Photography by Jim Crotty and Picture Ohio

Russell Lee Klika - Combat Camera Photographer

Something that never ceases to amaze me is the depth and degree of photographic talent that is being displayed by our military combat photographers currently serving, or who have recently served, in Iraq and Afghanistan.

To say these men and women give their civilian counterparts a run for their money would be an understatement.

They’re good. Damn good. And Staff Sergeant Klika (gotta love that name) is one the best.

The work Staff Sergeant Klika and others are doing provides a perfect testimonial to something I’ve always felt strong about when it comes to creating powerful images.

A successful photographer is one who knows and respects his subject inside and out. They are also the ones who have the guts and initiative to go that extra mile to obtain those images that will best tell the story needed to be told.

Which leads me to my next point.

Perhaps - just perhaps - the military-trained, combat photojournalist in uniform has just enough of an edge when it comes to courage, initiative and respect for subject to overcome any possible advantage exhibited by his or her civilian counterpart may have, such as in the areas of talent, creative vision and journalistic style (where SSgt. Klika can easily compete). Not that there aren’t civilian photojournalists who have stuck their necks out and done some incredible work throughout this war, but perhaps there is even another advantage of shooting combat images while actually serving in uniform.

And this is where I will stick my neck out. Maybe, just maybe, and against all rational, civilian-type thinking, the military photojournalist has a little bit more freedom to operate, with less concern of being politically “edited,” than the civilian photojournalists who work for some of the major newspapers and publications. “Unbelievable - the U.S. military censors everything and severely limits freedom of expression” you say ?

What do you think goes on in a major news organization that clearly has a political agenda (something that is more than obvious in today’s media) ?

Incredible work Staff Sergeant Klika, and incredible service. Thank you.

Doing what it takes to get the shot. Those are the words the come to mind when I view this photograph.
The client - Copp Systems in Dayton - wanted a group shot that included all of their employees.
I tried it first in their company conference room. The problem was that there were just too many faces and not enough space. I kept losing a face here and a face there, plus people have a tendency to want to “hide” behind the group when these types of group portraits are taken. There’s a natural shyness that takes over, especially in the workplace.

I wasn’t happy with the results from the inside shoot, so I suggested returning the next morning to try to do a group portrait outside. While previously photographing their equipment and products I noticed that this company had several of these trucks with what I call “cherry-pickers” - the mobile platforms that raise up commonly used by utility companies. I thought to myself that if I could get high enough I could shoot down, thus capturing everyone’s face within this large group of people.

Also, since this shoot was done in the middle of summer it was important that I get the shot either early morning or late afternoon. Overhead sun in the middle of the day can result in some extremely harsh hot spots and deep shadows.

The next morning was clear and sunny, but I knew I didn’t have much time before the sun got too high in the sky. The staff was great in moving everyone outside and helping get in and operate the mobile lift.

Up I went until I was high enough to obtain the angle that was good for a group this size. I had the shot within three of four frames, which was good because I also don’t like to interfere with other people’s work schedules when I’m shooting on location. I always remain sensitive and respectful toward the client’s business operations and decorum. After all, they have customers to serve just like I do, and it’s never a good idea to keep the customer waiting.

Many people claim that winter in Ohio can be somewhat dull, depressing and colorless.
I disagree. You just have to know where to look, and more importantly, how to see.

There is color to be found, and one place I looked one February afternoon was in Dayton’s Historic Oregon District, an eclective blend of shops and bars that line Fifth Street.
I’ve found street photography in an urban environment to be fun to shoot. There are so many subjects.

This lone dress outside one of the shops caught my attention, primarily due to the unique color within rather gray surroundings.

When I took this shot I already knew that I was going to digitally handcolor it. I wanted to emphasize the subject even more by making it “pop” from the frame. Afterall, it was the contrast of this scene that made the image within my mind’s eye.

To emphasize it even more I used the selective focus benefit provided by a wide aperture setting. One of my favorite lenses for this technique is my Canon 70-200mm f4. It’s a great “street” lens, enabling me to quickly edit out the elements within the scene that I find too distracting and not contributing to the effectiveness of the composition.

I love to explore and experiment - with my camera as well as in my digital darkroom.