Tim Truby is an award winning landscape photographer who uses post production to add depth and nuance to overcome the camera’s flattening and create a more immersive experience.
“I’ve developed post techniques that mirror how a painter works. The result, the viewer begins to see the photograph as an interior space to be inhabited.”
The tidal pool photograph, “Sunset, Thor’s Well” was taken in coastal Oregon under particularly challenging conditions. “Getting the timing right was key. It took days to capture the necessary high tide level at twilight. And given the dangerous environment, I needed to capture the wave flow shooting hand-held.” For this image, Tim’s post techniques included “…brushstrokes that evoked the sharpness of the rocks, speeding water, urgent dynamism of tide.” With this approach, Thor’s Well becomes a conversation starter on mixed-genre photography and our sacred planet.
Each of Tim’s photographs is a process: an iconic shot location, compositional structure that leads the eye into the frame, then in post, discovering an artistic style that resonates in the mind’s eye. The process can take as long as that of a plein air painting.
The photo of Kirkjufellsfoss (church-mountain waterfall in Icelandic) began with Tim’s own experience of the location on his second visit to Iceland. After taking in the visual dynamics and changing light, Tim began creating a composition that mirrored the eye’s journey from waterfall to mountain to glowing sky. He experimented with shutter speed, framing, dynamic range, etc. over two days of location shooting.
The deeper stylistic choices came in post. “During the 3 weeks in country, I thought about Iceland’s unique color palette, the volcanic blackness, the tundra-like vegetation. There’s a Zen-like spareness to Iceland’s landscape and in post, I explored how to layer-in that palette and sensory elements.”
Stylistically, the art work has a mythic resonance, like something out of Game of Thrones. The roar of the waterfall, dampness of tundra in spring, hard edge of the distant peak. “The imaginative evocation of place is triggered by rough stone brushes, colors as thick as oil paint, clouds like watercolor – an Icelandic Sage the viewer can get lost in.”