Three Winters on Jekyll Island
Hello everyone—Mike here, back with a deeper look at my Driftwood Beach project. It’s been a labor of love spanning three distinct periods—2020, 2022, and 2024—and I’m excited to finally share the full story.
Beginnings: A Pandemic Escape (2020)
When COVID-19 restrictions first started easing, I found myself craving a creative outlet. I’m based in Miami and typically shoot architectural work, but I’ve always had a passion for starry skies and the drama of nighttime photography. So, with family in tow I packed up my gear and made the drive to Jekyll Island’s iconic Driftwood Beach in our fully outfitted sprinter van.
For those unfamiliar, Jekyll Island is a barrier island off the coast of Georgia, steeped in a rich maritime ecosystem. Ancient oaks and pines line the shore, and over time, the relentless tides wash entire trees onto the beach. The result is a skeletal forest on the sand—an ever-changing canvas where what you see today might vanish in a month. I loved the impermanence and found it ripe for nighttime exploration.
Behind the Night Lens: A Step-by-Step Look at My Process
I approach each photo shoot with a mix of careful planning and on-the-fly improvisation. By daylight, I scout potential subjects—examining driftwood angles and noting where the tide flows—so that once darkness settles in, I’m not completely in the dark (no pun intended).
I set up my camera on a heavy-duty tripod weighted with sandbags to keep it stable in coastal winds, then tether it to a laptop or iPad for real-time monitoring. A high-powered flashlight helps me locate composition points, and lens warmers prevent fog in the chilly night air. To light the scene, I pair ground-based strobes with a drone outfitted with additional lights, carefully timing each burst and exposure (often around 15 seconds) to capture multiple layers of light. It’s a delicate dance against drone battery life, shifting tides, and the ever-fickle moon, but in the end, that collaboration between my gear, the environment, and a bit of luck creates images that feel both organic and otherworldly.
The Monochrome Effect: Nearly Black and White
Although I capture every image in full color, the final results often appear almost monochromatic—somewhere on the edge between black and white. It’s not that the color data isn’t there; it’s simply that the subdued hues and deep shadows create a dramatic, low-contrast palette that emphasizes form over vivid tones. Subtle variations of gray, bronze, and muted blues peek through, but the overall impression is a world carved in light and shadow, capturing the driftwood as a sculptural presence rather than a splash of color.
Round Two & Three: 2022 and 2024
In 2022, I returned once again—this time with my six-year-old son, Kai, in tow. Late into the night, he raced up and down the beach, his light-up shoes flashing like tiny beacons in the darkness. I’d glance away to adjust my camera settings, then look back to find him by the pulsing glow of those sneakers. It was an unforgettable bonding moment for both of us, an experience far more illuminating than just the drone lights overhead.
By the time I revisited in 2024, some of my favorite driftwood structures had completely disappeared and new ones had taken their place—a testament to Mother Nature’s unpredictability. You can’t recreate a shot from a previous year; the beach decides what you’ll find each time. My wife, Sandra, joined me for this trip, and she finally convinced me to capture a few sunrise shots. While I’m typically drawn to darker, moody images, I had to admit the softer, pastel hues at dawn were surprisingly compelling.
Even so, my heart is still drawn to the shadows. Deep blacks, selective highlights, and hidden details form the core of my visual signature. Sure, the “bright and saturated” look might be en vogue, but I believe an artist’s calling is to reflect the world as we truly feel it, not merely as it’s expected to be. Letting my own perspective—and the occasional personal demon—shape my work brings an honest connection that I hope resonates in every image.
Organic Image Generation vs. AI
Lately, there’s been plenty of buzz about AI-generated images. I’ll be the first to admit, they can be stunning and imaginative. But out here on Driftwood Beach, it’s me, my camera, the drone, and the endless swirl of wind, sand, and tide. Each shot is an on-site collaboration with nature. Mistakes become breakthroughs; random bursts of wind shift my light beam, revealing angles I never considered. I call this “organic image generation”—and it’s inherently human. There’s something deeply satisfying about physically shaping light on a living, ever-evolving landscape, rather than conjuring pixels on a screen.
AI Perspective: “Tools like ChatGPT can “dream” up imagery and scenes in a purely digital realm. But they lack that direct contact with air temperature, the grit of sand, or the swirl of real ocean tide. It’s a different art form—an impressive one—but the accidents, entropy, and pure spontaneity of working on-location remain uniquely human. Whether that is an advantage or not is up for debate, but it’s definitely a different experience.”
A Changing Shoreline, A Lasting Impression
Every trip feels like a mini-expedition—timing the tides, enduring chilly nights with warmers in my gloves, adjusting multiple light sources at once, and pressing the shutter as the drone’s battery ticks down. These driftwood trees never look the same twice, and that’s precisely why I love photographing them. By the time I’m done, the moment has vanished like a memory.
Though the final images end up on screens (and on gallery walls!), the real magic is in the journey: the physical act of balancing gear on shifting sands, coaxing the perfect angle out of tangles of branches, and capturing that fleeting dance of light in the darkness.
Thank you for joining me on this nocturnal adventure. Feel free to share your thoughts—especially about the interplay between organic art and AI-generated works. And if you’re curious to see more images (or maybe you’re a gallery owner looking for the next exhibit piece!), don’t hesitate to get in touch. Driftwood Beach by moonlight is ever-changing, and there’s always another story waiting to be captured.
Until the next tide rolls out,
Mike
If you have any questions about the project please feel free to reach out!
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