I’ve taken a few pictures around Salisbury, CT in a snow storm in previous years. When the snow is drifting down and the charming New England buildings look inviting, the setting is perfect for feelings of home.
Winter arrived in the Northeast with maximum attitude: from 66ºF on Saturday morning to a full-on blizzard by Sunday. In Salisbury, CT, home of ski jumps and wood-lined hotel bars, we got to experience the odd dynamic of watching Porsche and Mercedes SUVs claw through the snow. The classic White Hart hotel was looking its best.
I tested my DJI Phantom 3 Advanced in the post-storm conditions. Almost-freezing, windy conditions didn’t have an impact on its flight performance, but the gimbal didn’t seem too thrilled. Some of its smooth elegance was lost… Or maybe it was just the wind.
In this particular corner of Connecticut in early spring, the rain and snow combined to make the perfect storybook fog. This image is so quaint and charming, I could swear I’d seen it somewhere before.
But this brings me to another idea: those particular locations in landscape photography so scenic that they are literally ubiquitous. Take the tunnel view in Yosemite, or shots of the Golden Gate Bridge from the Marin Headlands, or downtown Manhattan as seen from the top of Rockafeller Center as examples: is it even possible to make an original composition from such a photographically saturated place? But these places are also photographically saturated for a reason: they’re really, really pretty. Where does that trade-off between originality and beauty fall?
When the crust of winter slides off the landscape, the points and lines of the resting geometry beneath are exposed on foggy days like these. In Duchess County, where Connecticut meets New York, the density of the post-winter effect is damp. It has its own beauty, apart from snow-blasted winters or verdant summers. (And by contrast, this “melt season” represents a major chunk of the North Country’s spring attitude.)