In September 2017 I defined a few key technical digital photography guidelines for myself, and stuck to them as I shot on a daily basis.
First, I acquired a new 35mm prime lens for my camera. A prime lens has a fixed focal length, meaning that when I shoot, I can’t use the lens to zoom in on or away from the subject; in order to change the picture’s composition, I have to move. The upside: the lens captures better images than a zoom lens does.
I also did not allow myself to use either a tripod or flash when I made pictures. This forced me to carefully consider how to expose each shot, but it also kept me moving, finding a new angle or location where I could capture particular kinds of light with a handheld shot.
Finally, I set out to make use of hyperfocal distance. When I focus the lens at infinity (as I frequently do when taking pictures for the Cortona Skies series), the hyperfocal distance is the distance between the lens and the closest object in focus. I wanted to use this understanding to achieve maximum depth-of-field, and therefore pictures in which as many things as possible appear sharp and clear.
I sought this clarity because the intense Autumn sunlight of Italia seemed to turn every surface into a complex, highly textured interweaving of light and shadow. These pictures present that interplay, while the complementary series Colori Autunnali emphasizes the high-intensity chroma produced by Luce Autunnale.
Click on each picture to see it in its entirety.