2001 art calendar by Michael Seewald, master photographer on Seascapes

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Michael Seewald's 2001 Art Calendar
Ninth annual, signed and numbered,
limited edition art calendar!
"Seewald seascapes"

Seewald's first 'theme' calendar.

Calendar sponsored/produced by
Continental Litho of San Marcos, California.
Design by Graphic Bytes, Mary Schaeffer, president.

"Limon, Costa Rica, '94"

Sponsored by Tom and Judy Bonner, Houston, Texas.

"This is where my neighbor shot me," blurted out our bare-chested landlord, or 'hut-manager' I should say, as he checked us in earlier in the day, boasting about his freshly scarred, bullet wounded side. He said he had got into a little quarrel while drunk!

How was Costa Rica?" everyone asked me upon returning. "Hot and humid," I'd reply, telling the truth. At least in was when we, my lovely assistant and wife Valerie and I, went in March,. This was made on the Caribbean side of the country, in Limon, a bit of a 'wild' area. Taken at dusk, when it was much more comfortable to move around, the light from the hut gave me that certain 'center of interest' in a scene that I'm always on the lookout for."
ms

Click on photos to enlarge.

"Kauai, Hawaii, '95"

Un-sponsored

"Halawa, Big Island, Hawaii, '97"

Un-sponsored

"The exploding 10 foot wave smashed in earnest at all the rocks and cliffs it could find until it was rejected from further advancement. It would then slowly retreat back out to sea, like a whipped dog with it's tail between it's legs, but eager to return and try once again. The spray from the aftershock would linger and swirl like hungry seagulls over a tuna boat catch while the sun fought it's way through the steamy remains.

Of course, this all made great subject matter for my Hasselblad camera, anxious to capture the elements at their finest. I unleashed it, controlling only the composition and timing."
MS

Click on photos to enlarge.

"Napali Coast, Kauai, Hawaii, '00"

"Akko, Israel, '93"

Sponsored by Sheila Simon of San Francisco, California.

"Shooting on the banks of the Bible Lands was thrilling enough, but to capture it properly in an aesthetically exciting way was icing on the cake. My one-second time exposure technique paid off again as the ocean waves crashed though an old crack in the wall, giving movement to an otherwise static scene.

The combination of textures created with the harsh, dark, stone-cold wall and the white, ethereally soft waves give it a nice mix, or juxtaposition. At our gallery I constantly get comments about how I see things of beauty in what they, the viewer, would never look at twice. Many then figure it must be my camera, or film, etc., that I use and then ask about them.. But instead of answering them I ask them "What paints did Rembrandt use? What brushes?" Could you paint a 'Rembrandt' if I gave you those items? "No" they say. Correct, and thus t's not the paint, and it's not the camera, it's knowledge on the use of these instruments, and the soul with inspiration put behind them."
MS

"La Push Beach #2, Washington, '89"

Sponsored by Amy Joy of Phoenix Arizona.

"The coast of the northwestern United States, especially for seascape lovers, is heaven on earth, and for me creating along it was a dream come true. (Working all over the world is nice, but you can't beat our own country for great seascapes). For this series, "W. Coast USA", I drove from San Diego up to the Canadian border and back..

Stopped at virtually every beach there was in search of that perfect seascape photograph. The waning light of the day here in the Olympic National Park added a nice juxtaposition to the soft grays created from the long exposure. A bald eagle, the first I'd ever seen, watched me work from atop a huge dead tree just behind me, adding an unforgettable moment to my collection of many."
MS

Click on photos to enlarge.

Note: Each image is available as an 11x14" reproduction,
signed & titled by Michael Seewald. Go to order page.

"Alaska, Turnagain Arm, '91"

Sponsored by Doc Faulkenberg of Oceanside, Calif.

"I hadn't the foggiest on how far Alaska was from San Diego. But I found out after borrowing my brother Greg's camper truck (low budget trip- could sleep in it) and drove up the west coast, through British Columbia, (where a truck ran into me), and then the Yukon, via the Alcan Hwy, (where a giant rock was thrown into the windshield), to basically RUSSIA! Since the trip was sold as 'Pacific N.W.', I started 'working' as soon as I crossed the border into British Columbia.

Started freezing at night by the time I reached the Yukon. Bought a goose down type sleeping bag in Whitehorse, not to mention long underwear, wool socks, etc., but California boy still froze. Ten thousand miles and six weeks later I returned with a slew of great images and stories. This one was taken just after seeing a pod of white beluga whales offshore for my first time. Exciting!"
MS

"Waimea, Kauai, '88"

Sponsored by John Van Wart of Reno, Nevada.

"My first of three trips to Kauai netted me this image, shot on the south shore in Waimea, just below Waimea canyon. Although I'd hoped to get some great storm scenes by going in February, I was once again, cursed by sunny weather. (It even happened in Scotland, where I was guaranteed overcast weather, which I prefer, but got sunburned instead).

The one minute exposure necessary to get the effect of mist where there was none added to the overall beauty. To be an artist with an eye one must always be on the lookout for a descent center of interest. From a distance it was just a little nothing on the edge of the water. To me it was that important item needed to give the scene interest. The ocean by itself would not have worked as well."
MS

"Ho'okipa, Maui, Hawaii, '89"

Sponsored by John Lefferdink of Cardiff, California.

"Countless perfect breakers peeling themselves in one after another like pieces of soft wood curling from the knife of an adept whittler had me mesmerized. But this scene, during my first trip to Maui, also had me in knots. I had to create my time exposure technique in light I don't usually work - late, harsh direct morning sunlight.

Soft light is my M.O., and that is early morning or late afternoon, (unless it's cloudy, then I can shoot all day long). This required a seldom used secret weapon, a neutral density filter, which, when used, can cut the light back two-fold. Along with my usual polarizer, this netted me a four 'stop' loss of light, thus allowing a longer, quarter-second exposure at about f/32. Otherwise, a faster shutter speed would have been called for, not allowing enough movement to create the effect I wanted."
MS

Click on photos to enlarge.

Note: Each image is available as an 11x14" reproduction,
signed & titled by Michael Seewald. Go to order page.

"Kauai, Hawaii, '88"

Un-sponsored

"Dune de Pila, France, '90"

Sponsored by Rick Clark, Encinitas, California.

"The sun had set and as I headed back over the dunes one more time to the main road to leave I took one last look back. I'd been working my way up the west coast of France when I came across these, the largest sand dunes of Europe, called Dune de Pila, just south west of Bordeaux. I trudged all over them in the summer heat one day finding nothing, to my eye, worthwhile.

My heart leaped as I spied the possibilities of the little grasses being the center of interest. I had been looking for something dramatic and missed the commonplace. Marc Player, son of Gary Player- golfer and course designer, purchased this one from our gallery. A friend mused that it was probably because it looked like the largest sand trap he'd ever seen."
MS

"Ho'okipa, Maui, Hawaii, '89"
Un-sponsored

"Light is everything in my art. I could find the greatest subject matter in the world, and I've found many, but if the light is wrong it's not worth trying to make something of it. I might return later, etc., but more times than not you have to be in the right place at the right time. That's half of it. The other half is you have to know how to capture the image when you do find it. All the technical 'stuff'.

I found this stretch of beach just north of Paia, just under the flight path of incoming airliners. I came back often, hoping something would turn up, light-wise, sometime. I hear luck favors the prepared mind. Seems it favored me on this one."
MS