This has always been one of my favorite images. It’s also one of the oldest images in my digital portfolio. I photographed it 17 years ago (!) with my very first DSLR, a Canon 10D. Despite the 10D’s postage-stamp-size LCD, being able to instantly view and refine my images led to an epiphany that permanently altered the way I photograph: Even though photography is a two-dimensional medium, the ability to visualize and manage its missing dimension—depth—separates artistic photography from snapshots.
I’m sharing this image today because yesterday afternoon I returned to the location of its capture, a hidden hillside in the Merced River Canyon, just west of Yosemite Valley. It was the last day of my Yosemite Moonbow and Wildflowers workshop, and while there wasn’t enough water to create the explosion of mist a March moonbow requires, the wildflowers were out in force. Rather than pull out my camera and try to reprise this old favorite, I was content to stand by, take in the beauty, and watch my group happily work this now familiar scene. Between occasional iPhone clicks, I mentally returned to that afternoon 17 years ago, and to the lessons I learned that day.
Getting an entire scene, front to back, in sharp focus is important, but fueled by digital photography’s instant feedback, I grew to appreciate the power of shallow depth of field. On shoots like this I’d take a picture, evaluate my result, and notice the way an out-of-focus background smoothes potential distractions into blurs of color and shape. With that realization, I started challenging myself to see how far I could take background blur.
While working on this pair of poppies, my eyes could sharply resolve every background detail, from colorful wildflowers to scraggly weeds, but I found that much detail distracting in an image. Simply blurring the background helped, but I wanted more blur, as well as a background that complemented the closest two poppies that were to be my scene’s focal point.
Circling the poppies, I positioned camera downhill and as close to the ground as possible, which enabled me to shoot uphill, toward the most densely populated part of the poppy covered hillside. To achieve maximum blur, I added an extension tube to my macro lens, set my f-stop to f/2.8 (wide open), and moved my lens to within a few inches of the closest poppy. When the image on my LCD after the first click revealed the hillside blurred into a golden fog, I knew I was on to something.
But I wasn’t done. Nailing the focus point, always important, is even more essential in macro photography. Sometimes the focus point is a difficult choice, but in this case it was pretty clear that the leading edge of the front poppy was where focus needed to be.
With my camera flat on the ground and the lens resting on a beanbag (homemade, from a Ziploc and dried lentils), focus was easier said than done. Had I been doing this today, with my Sony a7RIV, I could have tilted my live-view LCD upward, magnified the front poppy’s leading edge, and focused without getting dirty. But with my ancient Canon I had to do it the “old fashioned” way, sprawling on the ground and contorting to get my eye to the viewfinder. Fortunately, a calm wind gave me the time to get the focus right.
Not only is this one of my personal favorite images, it’s also one of my most popular. And even though the resolution on my 10D was only 6 megapixels, I’ve sold prints of this image up to 24×36. But sprawled in the weeds that afternoon, I had no idea was creating something that would still be important to me 17 years later. Where has the time gone? …
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