Solitaries.

This series is the inverse of the last — that one was full of light sources; this one is only one thing.

The hard part of shooting a solitary subject is not composition; it is keeping the background out of the way. At the Malarrif lighthouse on the Snæfellsnes peninsula I waited thirty minutes for the sun to reach the horizon line so the sky would settle into that near-editorial blue-grey band. At Hvítserkur on the north coast I pulled to 200mm to compress the sea and float the stack on its own reflection — a paper cutout pasted onto the sky.

The last frame, the pirate ship on Lake Ashi, is the only unserious one — treating a tourist boat as an abrupt single object dropped into a Japanese landscape painting. A little mischief.