Rangefinder Magazine
August 2005
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Profile: Patrick Ross by LARRY BROWNSTEIN
Long-Time Exposures
Patrick Ross has a love of nature that was nurtured by childhood family vacations around the Southwest. He first picked up a camera to photograph his friends skateboarding. When he inevitably began to turn the camera towards the landscape, it was as though the last piece of a puzzle fell into place, as he found his true passion—nature photography.
“I try to portray the great beauty and power found in nature,” says Ross. “There are few areas of the world left unaltered by the hand of man. In these areas lie extreme beauty and perfect design. It is my hope that my photography can serve to champion and preserve these remaining natural areas.”
Ross attended Brooks Institute of Photography in Santa Barbara, CA, where he gained mastery of the technical aspects of photography, including the 4x5 view camera that he now uses exclusively.
He has only been out of school for a short period of time, yet his education, passion and considerable effort have allowed him to focus full time on nature photography. He sells his imagery in the fine art market as well as licensing his images to corporate clients. Ross is beginning to further develop relationships with select galleries, a direction he wants to develop further.
Ross admires the work of photographers Jack Dykinga, John Sexton and David Muench, all masters of the view camera. He recalls running into Muench at Big Bend National Park one morning before sunrise. He set out hiking to Santa Elena Canyon in the dark, and as he neared the canyon he saw a figure in the early dawn light. He noticed from the distance that it was a photographer working a view camera on a tripod. He jokingly said to his mother, who had accompanied him on this trip, that it was probably David Muench. He found that it was indeed Muench, who had set up on a small sandbar jutting into the water, which provided the ideal vantage point for reflections in the water.
Ross decided Muench had earned the prized spot by being the first one there. He acknowledged Muench and was surprised to be invited to squeeze in next to him, and they worked side by side.
Ross shoots with a KB Canham DLC 45 view camera with assorted lenses ranging from wide-angle to telephoto. He uses Gitzo carbon fiber tripods and shoots with either Fujifilm Velvia 50, Velvia 100 or Provia 100F film. About the 4x5 format, Ross says, “The 4x5 provides perspective and focus controls not available in non-view cameras. These features put more control in the photographer’s hand and ultimately more freedom and precision into the imagery.”
Above center: Patrick noticed the “blocked-up sky” and realized it meant a chance for an interesting sunset with rays of light poking through the clouds. He realized this was not a shot to take with transparency film, as its limited exposure latitude of 3–4 f-stops was not going to capture the 10+ f-stops he had metered. So he turned to negative film, which allowed him to retain detail throughout the highlights and shadows. It was shot with a 90mm lens. |
And he comments upon whether digital capture is likely to be in his future, “Certainly, I am eager for the day that digital backs are applicable to the work I do in the field. It should allow for more efficiency and control in my workflow by removing the color lab, scanner, and the additional generations of information involved with aspects of the film process. At this point, I plan on continuing my use of the view camera. I hope that the digital market will produce large-format backs that are reasonable for use outdoors. There are still developments in digital technologies that need to occur for this to become a reality. If these technologies never meet or exceed the quality of film imagery, I will continue to use film.”
Ross finds that his Brooks education has helped prepare him for the changes taking place now in the photo industry. Brooks places a great deal of emphasis on digital technology. Though Ross doesn’t shoot digital, his digital savvy allows him to prepare files for the Web and for print. This knowledge is helpful to him in preparing promotional materials too.
Above left: Ross had just broken up with a girlfriend of three years and was traveling with a friend through Northern California. When he saw the lone, partially
submerged tree, he immediately identified with it. It symbolized the sadness he was feeling at the time. The mottled blue light emphasized this feeling
in the photograph. This image was shot with a 90mm lens on Fujifilm Velvia 50 film. Below right: It was getting dark and difficult to see the image on the
ground glass of the view camera in the low light. Ross exposed Fujifilm Provia 100F for six minutes and was pleased with the mood of the image. It was the
last exposure of the day and resulted in “going the extra mile.” This image, Ross says, sums up where he is with his photography: He has great passion for his
work and is more than willing to go that extra mile every day. He believes this passion and focus have allowed him to accomplish so much in such a short time
in his career. He is eager to keep working, documenting the American landscape and seeing where it will lead.
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Apparently nature photography has one thing in common with the business of real estate—it’s emphasis on location, location, location. Ross says, “I find my locations through research and word of mouth—research via computer, books and any other conceivable method. I found a spot the other day from my friend’s video camera. He had video of his friends jumping off some cliffs into a swimming hole with a beautiful waterfall in the background. I asked him where it was, and I was there the next day shooting. I choose my subject matter by photographing the subjects that compel me.
“I don’t think there is any set formula for where to work. Your most meaningful work will come from a subject that you have deep respect for and connection to. Whether that is Yosemite or your backyard, work there.”
Asked if a photographer could simply focus on what compels him or her, without an eye on the marketplace. Ross responded, “I try not to think too much about the end use of my imagery while out in the field. I think that it can pervert the reason for being out there. If you are making compelling imagery and know where to place it, it should get used. At times, I will shoot a variation on the image to make the image more applicable for different layouts. My most compelling imagery comes through when I am working with my subjects out of respect and just being in that moment.”
His family used to encourage him to get a “legitimate” job, but, he says, he is meant to be creating photographs. Photography may or may not be a legitimate job, but when it comes to nature photography Patrick Ross is the real thing.
Larry Brownstein is author and photographer of Los Angeles: Where Anything is Possible, an inspirational look at life, culture and architecture in L.A. He is represented by Getty Images, California Stock and other photo agencies. His work includes travel, landscape, portraiture and wedding photography. His web site is www.larrybrownstein.com. He can be reached at (310) 815-1402, larryb@larrybrownstein.com/.
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