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The Exceptional Portfolio of Landscape Photographer Scott Reither

June 25, 2012 Black and White, Creativity, Nature, Profile & Interviews 3 Comments

Written by: Charlie Borland

I have had photography as my primary life’s focus for over a decade. Early on, my focus turned to landscape photography. I had always had a spirited relationship with nature and the outdoors and now was beginning to find that I could communicate some of these feelings to others with the use of the camera, and through my photographs. The endless study had begun.

I started building a collection of gallery worthy images, and in 2006, I began my professional career as an artist. This path is not for everyone, and if you are curious or in question whether it is for you, then it likely is not. There is no room for questioning, or for doubt. You become a professional artist for only one reason – because you can not fathom doing anything else with your life. That’s it. For me, this was clear. It’s an up-and-down path and can be very challenging, but it is also extremely rewarding.

Up until this year, creating the work and getting it on the walls of collectors have been my sole focus, along with the myriad of other aspects of being a one-man-business! These days, I am putting concerted focus in some other directions including my blog – Time Exposed, and workshops – Maui Photo Expeditions. I hope to build on both of these additional avenues as well as continuing moving forward with my artwork. Writing and teaching has been an added challenge, but I am beginning to find my voice with the blog and realize that I have a fair amount of information to pass along through workshops that I have gained over the past decade of experiences, and both of these new avenues are enriching in their own right.

SUN STAR PIER La Jolla, California Canon 5D Mark II, 17-40mm.

After 4 years and countless sunsets of photographing the Scripp’s Pier, it was literally on my last night before moving away did I finally capture the image I had always imagined – the sun setting directly down the center of the corridor.
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The type of photographs I most enjoy making are ones based on extended time, that become visually ethereal and meditative by nature. When I am out shooting, I am generally alone. I find places, commonly along the shore, and setup my camera for a long exposure. As I am making these exposures, my mind settles and I become more present. The concerns, worries and mind-chatter fall away and I find myself in a very peaceful place. It is in this way that I have come to use my photography as a means to solitude, and in the end, this is what I try and communicate with the viewer. I have little intention to show the viewer the way the world looks in an instant, as much as I hope to evoke this feeling of peace and stillness that is ever-present in one’s life.

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SERENITY Maui, Hawaii Linhof Technorama 617SIII, 90mm, Fuji Velvia 50.

Up until recently, most of my work has been done with film. I have primarily used Fuji Velvia film with Pentax 67 and Linhof 617 cameras. Serenity dates back to the early part of my path and I often call it my first successful landscape photograph. It was also the first image I made of such a long exposure (4 minutes) and was the beginning of what would become a love-affair with long exposure photography.

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WINDANSEA La Jolla, California Linhof Technorama 617SIII, 90mm, Fuji Velvia 100.

This is a popular surf destination in Southern California that I wanted to capture a little differently, so I arrived at 4am while the full moon was nearing the horizon. The exposure is 15 minutes – capturing the moonlight on the ocean, while an ambient street light adds a light source to the foreground.

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COSMIC LIFE Toroweap, Arizona Pentax 67II, 55mm, Fuji Velvia 100.

I began the exposure in total darkness. I used my flashlight to paint-with-light the front of the rocks and tree for a couple of minutes. Then I carefully made my way back to the campfire behind the tree – this is what’s causing the glow! 30 minutes into the exposure, I watched as the near-full moon rose, adding more light to the scene. After 45 minutes total, I stopped the exposure. This image is a 45 minute long exposure with 4 light sources – flashlight, starlight, moonlight, and campfire light, and still one of the most dynamic images I have ever captured on film!

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FURY La Jolla, California Pentax 67II, 55mm, Fuji Velvia 100.

One of the quickest exposures in my entire collection of landscapes, Fury is one of my personal favorites. This was during a big southern-California fire. All the smoke moved to the coast and sat there in the cove of La Jolla. I figured it would be good for shooting, and with the combination of large surf that evening, I was not wrong.

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LA PEROUSE Maui, Hawaii Pentax 67II, 55mm, Fuji Velvia 100.

With La Perouse, I was determined to make a photograph that represented my vision of the island, in a single image. While extending the exposure to 4 minutes, I was able to achieve a wonderfully beautiful and ethereal image along Makena’s rugged coastline, during a stunning island sunset.

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VANISHING La Jolla, California Pentax 67II, 55mm, Fuji Velvia 100.

This otherworldly composition was made in Torrey Pines State Park. I extended the exposure to 2 minutes while the big surf pounded the coastline and the late afternoon’s rays bathed the distant horizon.

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AWAKENING Silver Falls State Park, Oregon Canon 5D Mark II, 17-40mm.

I explored Oregon and Washington for 23 days for dynamic photographic possibilities. None were more dynamic than this frigid morning at Silver Falls. This scene was straight out of a fairytale and is some of the most memorable light I have ever been fortunate enough to witness.

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GALACTIC PALM Maui, Hawaii Canon 5D Mark II, 17-40mm.

I have spent many nights over the last few summers out under the night sky, working to make successful images of the Milky Way. It’s more challenging to do this in relation to a landscape scene than one might think! On one successful attempt, I used this lone palm lined up nicely with the starry sky as Scorpio’s tail pulls up the Milky Way vertically in the sky. To compose this image, I have a road between the palm and the camera, and timed it so a distant oncoming car would be the light source on the tree and the grass.

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All of my early work was color, tending toward bold and dynamic color, and primarily shot on Fuji Velvia film. One year along my photographic journey, my work began to simplify. Compositions excluded more and more and the overall feel was transforming. A convergence of factors came together and I found myself seeing the landscape for the first time in black and white. I did not shoot a color frame for nearly 2 years!

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PASSAGE La Jolla, California

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CORMORANTS AND FLOWERS La Jolla, California

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TWO ROCKS AND CLOUDS La Jolla, California

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POLES IN WATER Bandon, Oregon

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BENDING JETTY Maui, Hawaii

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EXODUS Maui, Hawaii

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Now, I have come full circle and photograph in both color and black and white, allowing the scene, light and my mood to dictate which. The common thread throughout the work is the love affair I have with ethereal imagery and time captured in the still image.

There’s something very romantic about black and white and finishing the story in one’s own mind…but, there’s other times when the world offers a moment of such brilliance that the heart, and lens, can’t turn away.

Please visit me at:website: http://www.scottreither.com,  blog: http://www.timeexposed.com

If you have any thoughts, please leave a comment.

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Currently there are "3 comments" on this Article:

  1. Jeff Colburn says:

    Very nice images. I hope you have continued success.

    Have Fun,
    Jeff

  2. Houssine says:

    i realy love your work Sir have a nice day and god bless your family

  3. Bll Pitt says:

    Great photos and I especially like the creativity.

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