Fuji-san is an icon, not just here in Japan, but the world over. Representative of symmetry, perfection, peace, it is captured in centuries of art, first brushed, then sketched, and etched, and woven, and developed, and on and on…. Whenever I see Mt. Fuji, I get the same inspiration as countless millions before me: I want to, yet again, take another snapshot. I learned early, though, that it is impossible to capture one perfect view of Fuji-san, and therefore repeated impressions are not just acceptable, but required.
Selecting the right image for portfolio inclusion is at once easy and difficult. On the one hand, it’s easy because I don’t have that many “worthy” snapshots, so the overall lot I have to cull through is limited. On the other hand, when choosing images for a portfolio, relying on “it’s good enough” is setting the bar too low; finding the best of the best is critical to, first, a personal sense of achievement and, second, appreciation of any kind from your viewers. The four I’ve pulled together here please me, for now. I’ve got two over water, and two over land. Clouds are present, and some foreground baubles.
While the beauty of Fuji-san’s shape and symmetry never vary, and using them make it easy to pull off a color snapshot at sunrise or sunset, since engaging on this B&W journey, I’ve had to begin to appreciate different aspects of a “quality” Mt. Fuji image. The soft reds of the sun, combined with that iconic shape, are enough to create a memorable image, but you’re relying a lot on the colour and resulting mood. Black and white is nothing if not mood, but you can’t use colours to create it; instead, I find I’m focusing on clouds, and foreground, and contrast (of course!). I’m not saying anything new to someone already skilled in B&W, but for the student of photography, like me, this is new and important stuff.
This last shot, with the split rocks (they’re actually tied together by a barely-visible rope, related to the Shinto religion) and the crashing waves in the foreground is somewhat disappointing due to the muted nature of Fuji-san herself. In the colour version, the sky is a deep, rich blue which permeates the air; converting this blue to monochrome, however, results in a dim, muted background. You can see that the whites of Fuji-san’s cap are much less white than the crashing wave; my first reaction was to amp the whites of that snow to give the same charged feel of the waves, but the effect didn’t work. It’s background, and needs to feel like background to the viewer. Hmm…. More struggles with what I think is good, and what is good.