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Ok I know its a photo a day but I had to post these because I might not get a chance to get back on for a few days. I hope enjoy.





Both taken last summer while walking with my wife on the Del Mar beach located on Camp Pendleton, California. Probably one of the last beautiful beaches between San Diego and Los Angeles where you can still drink alcohol and is free of trash and bums.
 
patterson+pass-0180.jpg


From a ride we did around Labor Day - an S90 is a great take-along camera.

Looks a lot like my crew out on a ride. :D
 
Looks a lot like my crew out on a ride. :D

Chowing down? :p We were around 50 miles into the ride and had already climbed over Patterson Pass, so we were pretty hungry by the time we hit the BBQ place. The guy in the fluorescent yellow jersey and I were first to the top of the pass by almost 30 minutes over the rest of the group.
 
Thanks mtnbikemama, heron88, VirtualRain, TheRowBear, and TheReef for your kind comments on my last photo. :)

OK, what’s Phrasikleia done that you can’t do? Seriously. Now, I can’t say what was going through her mind as she was setting up the shot, but I recognise that she’s chosen a photogenic location, and looked around to get a viewpoint that brings a few elements together to create a simple and harmonious composition. The eye wanders into the picture area by way of the rickety pier, towards the island and house, which is accentuated against the darker hills, so it stands out.

The light is interesting: the orange glow combined with the grey... like a summer storm’s on the way. I’d be there, camera on tripod, cable release in hand, exposure sorted (with option to bracket), and I’d be watching and waiting to see how the light was changing. Instead of trying to capture a moment, I’d be thinking I was covering an event. I would wait to see what happened next; if I left too soon I might miss the best moment. The rather odd quality of light suffuses the whole picture with that lovely etherial glow (the effect doubled up, of course by being reflected in the water). Let the light do the work.

The scene may have looked a lot darker to the naked eye (I’m guessing), making it possible to use a long exposure - quite a few seconds? - to blur the water, and help to create another slight colour shift. The mood is helped by the tonal range, which doesn't include either deep shadows or distracting, blown-out highlights.

When I’m doing my landscape photography workshops, I try to get people to stop looking at their cameras (and fiddling with the controls), and look at the landscape instead. Which means using a tripod, setting up a shot... and then seeing what happens within that rectangle. After that, it’s easy, and I’m sure Phrasikleia would say the same. Slow down, be patient, tune in to your surroundings and watch how a scene changes, second by second. It’s very enjoyable (kinda relaxing and tiring at the same time) and you get the chance to come away with a pic like this.

But, hey, what do I know; I haven't taken a picture in weeks... :p:)

Well, there it is, and right from the guy who more or less 'taught' me how to do it. Listen to him, and your pics will get better. ;) Like he said, it's a simple composition--you might even call it formulaic: a distinct subject placed near an intersection of the thirds, along with some foreground and background interest to create depth. It's the oldest 'trick' in the book, as far as composition goes. But none of that would go very far if it weren't for the light, and I got just enough of it that evening; the clouds were pretty thick, but they eventually opened up just enough to splash some light on the scene and make it interesting. The light broke through only briefly and was rather subtle, so I actually went home thinking I'd probably gotten nothing more than a reference shot. (I shot it using UniWB, which makes the preview image on the camera's LCD look green, so I really wasn't sure what I had until I got home.)

One correction, though, and this will answer AxisOfBeagles's question: it actually wasn't any darker than what you see here. I just used an ND filter to slow down the exposure and get the water blurred like that.

Very nice, with beautifull colors, and the silky smooth water.

Not knowing if it was at all possible, there is a bit of space to the left of the lighthouse, and we are missing the end of the structure on the right at the foreground. Could it be possible to move the composition slightly to the right ?

I also love the star light coming out of the lighthouse.

Oh, that long pier you see in the foreground extends off to the right for at least twice the length that is in the frame. It terminates in a large, dilapidated warehouse, surround on the shore by chain link fencing to keep people out. You would need a multi-frame panorama to get it all in, but then of course it would become the subject. Regardless, I would not have wanted any less space to the left of the lighthouse: I usually avoid putting my subject right up against the edge of the frame because doing so (literally) marginalizes the subject and weakens its presence. I think it's best to give important points of interest a bit of breathing room, to the extent that you can.


D300, 17-55f/2.8, 31mm, 1/80 sec, f/4, ISO200

I just love the steely grey of the boat against the pink clouds. Terrific color palette.

On the other side of the Pacific... I don't think these guys will be earning quite as much :eek:

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Oh my...what's going on out there? :eek:


More beautiful light from you, Reef. Is this one also from New Zealand?
 
^^^Phrasikleia, am I correct in assuming that you used a smaller aperture setting, like f/16 or 22 and started your focus at the pier-3-5feet to create the depth?
 
More signs of spring here. We may still get another freeze or two, but I see nothing in the long term forecast to indicate it yet.

 
^^^Phrasikleia, am I correct in assuming that you used a smaller aperture setting, like f/16 or 22 and started your focus at the pier-3-5feet to create the depth?

The EXIF data is intact in the image. If you use Firefox, you can download a free EXIF viewer add-on to see it. I focused roughly hyperfocally and took a test exposure to make sure everything was sharp. The settings were f/11 at 100mm (5D Mark II), ISO 100, for just over 2 minutes (126 seconds). I used a 10-stop ND filter to get it that long.
 
... for just over 2 minutes (126 seconds). I used a 10-stop ND filter to get it that long.

:eek: Awesome! You've inspired me to consider much longer exposure scenes.

Here's another one from my Caribbean series (yes I'm getting towards the end!) and this one happens to capture my favorite evening hang out... :D

p30855394-4.jpg
 
The EXIF data is intact in the image. If you use Firefox, you can download a free EXIF viewer add-on to see it. I focused roughly hyperfocally and took a test exposure to make sure everything was sharp. The settings were f/11 at 100mm (5D Mark II), ISO 100, for just over 2 minutes (126 seconds). I used a 10-stop ND filter to get it that long.

Thanks!
 
Ok I know its a photo a day but I had to post these because I might not get a chance to get back on for a few days. I hope enjoy.

[photo]

[photo]

//snip//.
If you know you are going to be away for a few days but still want to post a series of photos for comments, it's better to start your own comment thread. When you get back, you would be more likely to find comments waiting. Your efforts will just be lost here when they slip back a page or two.

Dale
 
Thoughts? :)

Sunrise on a nature preserve in Ohio (The Wilds) - October 2009.
EXIF information is attached.

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I used a 10-stop ND filter to get it that long.

Jeebus, that makes composing a photo fun. I assume you compose and focus first, then break out your white cane and dark glasses, slap that baby on and set exposure?

(I have a 6 stop ND filter that I use occasionally. Turns day into night...)
 
B&W screw-on. Very fun filter.

I've got a Kodak gelatin ND 4.00 (13.3 stops) that's interesting for removing people and vehicles from shots. I recently got on the list for the Big Stopper though, as I'd like a nice glass filter.

I was looking at the B+W filters, but I'd like to be able to use multiple lenses easily and the online comparison I found tipped it in the Lee's favor, though availability sucks for the Lee!

Paul
 
:eek: Awesome! You've inspired me to consider much longer exposure scenes.

Here's another one from my Caribbean series (yes I'm getting towards the end!) and this one happens to capture my favorite evening hang out... :D

p30855394-4.jpg

This one is really nice. I'm impressed that the people are not motion blurred. How much did you have to pay them to get them to stand still enough? :)
 
I've got a Kodak gelatin ND 4.00 (13.3 stops) that's interesting for removing people and vehicles from shots. I recently got on the list for the Big Stopper though, as I'd like a nice glass filter.

I was looking at the B+W filters, but I'd like to be able to use multiple lenses easily and the online comparison I found tipped it in the Lee's favor, though availability sucks for the Lee!

Paul

Yeah, even the B&W filters were sold out around the world for several months. I was very happy when they came back into stock. I'm not sure how one type or the other would work better with multiple lenses, though. You still have to have holder adapters for the panel-type of filter (unless maybe you're using the rubber-band type of holder?). I had to buy multiple adapters to use my panel-type filters with different lenses. I use a step-up ring to move my 10-stop screw-in ND between lenses.

Jeebus, that makes composing a photo fun. I assume you compose and focus first, then break out your white cane and dark glasses, slap that baby on and set exposure?

(I have a 6 stop ND filter that I use occasionally. Turns day into night...)

Yeah, it's impossible to compose with the filter attached. I compose, focus, and meter without the filter. Then I screw on the filter and use a little iPhone app called NDcalc (from nSonic) to get the adjusted exposure; the app also provides a handy timer for using bulb mode.

I did a small rig photoshoot with my fathers car heh :)


Well done. The sky is quite vacant, but it would take text very well. Where was the rig attached?
 
Cool photo. Can you please explain in some detail how it was done? I'm also interested in the shutter speed as I found the EXIF data unbelievable. 8 seconds?

Thanks.

Certainly! First of all, yes it was 8 seconds. Spot on!
F22, 8 seconds, 18-200mm VR with ND8 all attached on a rig that I made.
You need suction cups, clamps and something to mount the camera to.
I use 2 Avenger F1000 suction cups, 3 Manfrotto Super Clamps and a Manfrotto Magic Arm with camera mount.
For the rig you need some really strong piping. I use EMT piping. 1 3/4 inch with screw type compression couplings. You have to put the car in neutral, ebrake off of course, and push the car once the shutter is open. Some people drive the car very slowly. I have no clue how they do it as I've tried and get too much vibration from the motor.
That's pretty much it, I just gave away my secret! :p

Glad you enjoy my photo, it really means a lot to me! Thanks!

Well done. The sky is quite vacant, but it would take text very well. Where was the rig attached?

Thank you very much! It means alot. The rig was attached on the hood and passenger fender of the car.
 
Yeah, it's impossible to compose with the filter attached. I compose, focus, and meter without the filter. Then I screw on the filter and use a little iPhone app called NDcalc (from nSonic) to get the adjusted exposure; the app also provides a handy timer for using bulb mode.

Man, you continue to be a wealth of info and aids. First The Photographer's Ephemeris, then EXIF add-on for Firefox and now this! Any other apps up your sleeve? Thanks once again!:D;)
 
Yeah, it's impossible to compose with the filter attached. I compose, focus, and meter without the filter. Then I screw on the filter and use a little iPhone app called NDcalc (from nSonic) to get the adjusted exposure; the app also provides a handy timer for using bulb mode.

That's worth a buck, thanks.
 
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