On that same relaxing afternoon, I decided to shoot a few more photographs (surprise, surprise).
I wanted to make a photograph of one of the Tetons filling up the frame, but, ideally, it would have been a moody, dark, and dramatic photograph. Clearly, this isn’t that.
With the light of the early afternoon raining down on the Tetons above us, intricate shadow patters showed up due to the rock formations on the ridges.
I did take my time with this image, as I did with most of the photographs form this afternoon. That’s a luxury you get from daylight photography — you don’t really need to worry about chasing light or “getting there early,” because the light changes so slow in harsh sun.
I made a couple versions of this image, and, yes, this an image I like personally, but obviously it didn’t make the cut, otherwise I wouldn’t be writing about it right now. It didn’t make it partially because it wasn’t what I had in mind, but also because it’s not really me. Though, as I stated in the last post in this series, i love long-lens landscape, and this fits in that, it’s a bit too figurative for me. With long-lens landscape, I want to trip up the viewer into being unsure of what they’re looking at. This just screams “S O U T H T E T O N” in every way.
In my personal projects outside of landscape, I have this ongoing mentality of “location-free” photography. I don’t like to emphasize the location i’m photographing unless it's important to the image. With traditional landscape, that’s the challenge. So many people want to photograph the scenes they know they should photograph. I’ve stated before, that I still photograph those scenes, but I have certain criteria that I go through to see if I will photograph it or not.
This particular image of South Teton was one that I wanted to photograph, but unfortunately, I didn’t get the settings I desired so dearly.
This is an image that I would print off for myself and hang in my home, but not one that I would sell or put in a gallery.