Steve Uzzell photo of Disney Concert Hall in LA, CA Steve Uzzell
D3X, AF-S NIKKOR 24-70mm f/2.8G ED
Steve Uzzell photo of Pumpkin Patch in desert in CA Steve Uzzell
D3X, AF-S NIKKOR 14-24mm f/2.8G ED
Steve Uzzell photo of steam locomotive piston close up Steve Uzzell
D3X, AF-S NIKKOR 24-70mm f/2.8G ED
Steve Uzzell photo of Great Wall of China Steve Uzzell
D3X, AF-S VR Zoom-NIKKOR 70-200mm f/2.8G IF-ED
Steve Uzzell photo of nanpu Bridge in China Steve Uzzell
D3X, AF-S NIKKOR 24-70mm f/2.8G ED
Steve Uzzell photo of sculpture "Vessel" Steve Uzzell
D3X, AF-S NIKKOR 14-24mm f/2.8G ED
Steve Uzzell photo of red rock in Arizona Steve Uzzell
D3X, AF-S NIKKOR 14-24mm f/2.8G ED
Steve Uzzell photo of Arizona Golf club clubhouse Steve Uzzell
D3X, AF-S NIKKOR 14-24mm f/2.8G ED
Steve Uzzell photo of flowering vine in NY Steve Uzzell
D3X, AF-S NIKKOR 14-24mm f/2.8G ED

This is what we learned from Steve Uzzell:

That his images are informed, even directed, by geometry. “What I try to do,” he says, “is reduce the complicated and the overwhelming, all the visual stimuli that I see at a location, to its essence, and its essence usually involves some kind of geometry. I just love all the lines and the shapes of the built environment that man has created echoing all the lines and shapes of the natural environment.”

That one of the things he was taught when he shot for National Geographic is what we are all taught: closer is better. “What I found when I got closer to just about any subject—and the subjects I haven’t shot are few and far between—is, again, that the essence of so many things is geometry. It doesn’t matter whether you’re dealing with a locomotive or the Great Wall of China.”

And that the essence of inclusion is exclusion. “When I’m looking through the camera, if something in the scene doesn’t help me tell the story, then I exclude it; I change the composition to get rid of it. I move closer or I move an inch to the left, even a quarter inch to the left. What you exclude makes what you include all the more powerful.”

“The Walt Disney Concert Hall in Los Angeles was designed by the incomparable Frank Gehry. For a presentation I needed images which spoke to the unique attributes of culture as represented by examples from the built environment.”

Pumpkin Patch. “It’s called The Pumpkin Patch and it’s in Anza-Borrego Desert State Park in California. These concretions are as spectacular as the trail is hard—getting a high-clearance 4x4 vehicle to the location was not easy. I made the shot after sunset, and we made our way out in pitch darkness with nothing but vehicle headlights and some very powerful flashlights to guide us back to a paved road. A great adventure.”

Steam Piston Gearing of Canadian Pacific Locomotive 3254. “I took this at the Steamtown National Historic Site in Scranton, Pennsylvania. Because of virtually unrestricted access, it’s a unique location for photography. You’re looking at the working steam piston gearing of Canadian Pacific locomotive 3254. The light of the cloudless blue sky reflecting off the grease is what attracted me to this composition.”

The Great Wall of China. “The Great Wall at Mutianyu village, north of Beijing. I was struck by the almost unbelievable difficulty of the terrain upon which this [section] was constructed; it literally goes up at a 45-degree angle. It was a hazy day, and the haze helped make the image look like an old hand-colored drawing.”

Nanpu Bridge. “This is the Nanpu Bridge in Shanghai, China. There were two apartment buildings that afforded the best vantage points. Both had security, [but] my guide and I figured a way to get inside one of them. On the top floor we went to a balcony at the end of a hall. It was a spectacular sight. My guide said to me, ‘You are showing me my hometown!’”

Vessel. “This sculpture, Vessel, by Lauren Frances Moore, is one of many at the Franconia Sculpture Park in Franconia, Minnesota. I was particularly drawn to this piece and captured the image lying on my back on the ground, shooting straight up.”

Coyote Buttes. “This is the Coyote Buttes area of Paria Canyon in northern Arizona. I think the igneous-like intrusion makes the sandstone wave much more interesting.”

Clubhouse. “The clubhouse at The Golf Club Scottsdale in Arizona was designed to look like a hundred-year-old hacienda. It’s a visual treat to be there—every direction reveals another image. This is one of those first compose, then move the camera images. I literally moved the camera a quarter of an inch to get the sun where it is. I knew that at f/22, I’d get a starburst.”

Flowering Vine Arbor. “A flowering vine arbor at Mohonk Mountain Resort in New Paltz, New York. I went there to speak and found the gardens and grounds to be very special. I’d planned to spend a few minutes wandering; instead I spent three hours shooting.”

You can explore the range of Steve’s images at his website, www.steveuzzell.com.

Steve Uzzell