Olympic National Park, Washington June 24–30, 2006

Perhaps one of the most compelling aspects of photography is its huge potential for diversity. Various combinations of subject material, light and moment can come together to render subjects in very different ways, visually and emotionally. “Photography,” to write with light, allows innumerable interpretations of subjects and locations through the capture of light itself—its color, direction and intensity.

Certain types of light traditionally favor certain types of images. Landscapes often look better in warm, low-angle light, while portraits and macro subjects generally look better in soft, diffuse light. Despite these guidelines, however, many subjects can “look good” in a variety of lighting conditions. The character of light, along with existing weather conditions and camera perspective, can all be used to produce diverse interpretations of the same subject or location.

Great Point Light, Nantucket Island, Massachusetts

Off the coast of Cape Cod, Nantucket Island provides a wealth of photogenic material in every season. The Great Point Light, established in 1784 and rebuilt in its present form in 1986, is one of the east coast’s most elegant lighthouses.

During a visit there a couple of years ago, I had the opportunity to get out to the point, which is nearly 3 miles from the nearest paved road or building. The terrain that surrounds the lighthouse made it easy to photograph from all sides in short order. Although all the images were taken with roughly the same focal length, the diversity of the images is a result of the progression of light during the day and changes in camera position around the subject. Each of the four images carries a different emotional feel. Together, they begin to tell a more complete story of the location.

Image 1 was taken before dawn, looking opposite the sunrise. The pure-white lighthouse showed nicely off the colors of the antitwilight arch and earth shadow in the western sky. I adjusted my position to maximize the orange light of the impending sunrise reflecting in the lower window of the tower. Since the direct light of the sunrise was weakened by a veil of cirrus clouds, I decided instead to move around to the other side and silhouette the tower against the brilliant clouds (Image 2). About 30 minutes after sunrise, the sun broke through and allowed a simple view of the lighthouse in clean sidelight (Image 3). I returned later in the day to capture another entirely different look and feel, using strong afternoon light to set off the lighthouse against a background of storm clouds (Image 4). In a relatively short time, four distinct feelings of the lighthouse could be captured.

The Grand Traverse, Vail, Colorado

Perhaps the most famous postcard view from my hometown of Vail is of The Grand Traverse, a section of the Gore Range spanning 2 ½ miles between 12,200 and 13,000 feet in elevation. Just minutes from my home, this view has been a favorite fallback for last minute runs to capture good light.

Unlike the Great Point Light that was photographed in a single day, these diverse images of the same mountain were made over the course of several years. All taken during the winter season from generally the same perspective, they illustrate the potential range of interpretations granted by light and moment. Any interesting subject or landmark near home can make for a long-term interpretive project such as this one.

Image 1 has the added serendipity of a cumulus cloud hovering behind the horizon, which helps add some textural contrast. The golden light of sunset contrasts with the rich blue shadows, making the mountain appear more luminous.

Image 2 shows another and more rare color of alpenglow on the mountain, afforded by atmospheric conditions on that particular day. The color of light at sunset is dependent on the type of atmospheric particles present on the distant horizon. Just as there are different levels and types of dust, pollution and moisture that combine in the atmosphere at any time, there are just as many possible colors of warm light at sunrise or sunset. And unlike an earth-colored brown or gray surface, a white canvas of snow or cloud serves as the best medium for these colors to be projected.

Image 3 depicts another winter scene, but taken at night. The full moon, rising just above the left half of the frame, serves to backlight wind-driven snow blowing off the ridge. Here, a different light source and some strong wind came together to provide a cold, mysterious mood to the mountain.

Image 4 shows yet another color of sunset light, with tighter framing. Depending on the project, graphic designers may choose one image over another solely on how it compliments the color scheme of their layout—in this case, a more golden tone.

Image 5 was captured on my way to another location before dawn. The crescent moon had risen well above the horizon, accentuating the tranquil view. In order to get it two-dimensionally closer to the jagged ridge, I drove closer to the mountain to change the geometry and make the moon “set” again, giving myself enough time to set up and wait for it to "rise" into the relative position I wanted.

Golden Gate Bridge, Marin Headlands, California

Recognized around the world, the Golden Gate Bridge has been a California icon since its completion in 1937. Frequent visits to the Bay Area have motivated me to keep photographing the bridge in different conditions and times of day. Like other well-known and “over-photographed” landmarks, I consider it a challenge to come up with something unique rather than concede to the idea it has all been seen and done before.

Although I have since seen similar versions of Image 1 after creating it for myself, the character of light in the image still makes it one of my favorite renditions of the bridge against the skyline of San Francisco. The copper color of the bridge is brought out by the color temperature of the floodlights on the bridge, as well as car headlights passing below during the long exposure. Along with the warm yellow lights of the city, the bridge stands out against the steel blue sky and dark water, capturing what I believe to be one of the special qualities of the city.

In contrast, the bright, hazy conditions of a November morning allowed an exposure that would render the bridge as a silhouette (Image 2). The dominance of blue light along with the more architectural emphasis makes this interpretation cool and contemporary. As a result, this version is more likely to be used in modern office décor rather than a welcoming postcard or advertisement.

Image 3 shows another use of silhouette, this time against a textural background of sparkling water. Taken immediately after Image 2 from a higher vantage point, this image draws completely on texture and line. The water (being my favorite subject for its infinite reactions to light), looking almost like tin foil rolled over a textured surface, reflects the winter sun in shimmering tones of silver and grey.

Finally, Image 4 shows a more clichéd image of a fog-shrouded tower in afternoon light. The open exposure and clean, patriotic colors work well to provide a more cheerful, animated interpretation of this classic scene.

With the tools of light, weather and moment, each day and each season can yield batches of unique, same-subject images that are not only marketable, but are fun to have. Whether taken in rapid succession or over the course of a lifetime, diverse interpretations remain one of my favorite aspects of landscape photography.

All images copyright © 2005 Todd Pierce