Glowing Garage

Fall in the North Country makes dramatic skies and shadows. What I’ll call “drivewayhenge” aligned the sun precisely with this driveway, allowing for much of the scene to be in shadow while the garage at the end is a glowing beacon. In typical North Country fashion, that garage is a Millenium Falcon of useful modifications.

Glowing Garage

Ending on Little River

Friday marked the end of exams, and students and faculty alike celebrated by checking canoes and kayaks out of this little boat house on St. Lawrence’s campus. (If it’s true that our school resembles a ski resort in the winter, it also resembles a summer camp during the warmer months of the year.) Nothing really says the year is done (and grading with it) like floating along in complete relaxation.

Ending on Little River

Edge of the Big Forest

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?

Edge of the Big Forest

Vacation Mountain

I dream of the perfect vacation house, nestled on the shores of some lonely Adirondack lake and stocked with just the right combination of boats and brews and firewood. I project this dream onto this unassuming cabin and its charming beach, nestled on the shore of Mirror Lake.

Vacation Mountain