Two suggestions AFB...
- Use that lens hood you just bought and use it at all times. It's a good habit to get into - I never leave home without it. I use a telephoto lens more often than not and it's more susceptible to flares but it's also my primary lens protection when hiking through the brush, and
- You might find that cloning-out an unwanted object or problem such as the yellow flare is not too difficult....especially when against a random background such as trees, leaves or grass. Give it a try...you might surprise yourself.
Unfortunately, a lens hood will not help when you have the sun in the frame (as you do here). The best option is to use the "finger trick": take your shot to get the sun star and then another one with your finger in the frame just enough to cover the sun. Use the latter shot to layer over the areas where you have flare spots showing. It's as simple as that. You do need to use a tripod for perfect registration of the two shots, of course.
Was standing next to the developers and noticed I had one shot left.
It was that awkward moment where I had to decide whether to grab a blank shot or try and find something interesting.
I walked passed this scene and the items just seem to be laid out for me so I grabbed the shot! Normally I always try to get shots of people but I probably should try and broaden my horizons. It's a lot harder than I thought!
As always, comments appreciated.
LondonHasselbladScan-130929-0012 by AcearchieArchive, on Flickr
Nice colors. This photo has an interesting dynamic to it. It seems to have movement in two planes at the same time. One is a clockwise sweep from the top left arching down to the lower right and the other is straight in from the lower left to the mid right center along the bank of the stream. Great capture.
Dale
Clicked this from my balcony here in Ras Al Khaimah, United Arab Emirates. Moment after the sun rise. Used Nikon D600 with 70-300mm lens.
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It needs an area of good black to give is some more depth, so either kick up the contrast or black point in post. Maybe both. When shooting something with a lot of pronounced horizontal or vertical lines, pick the ones that are most prominent and line them up with the side or bottom of the frame in the viewfinder. If you catch something like this in post, it's easy to either rotate or skew the image to bring things up square. If you're off to the side, it isn't really that important, but when you shoot straight on it makes the photo look like you just snapped it and moved on. None of us ever do that, now, do we??
Dale
Love the vibrant contrasting colours in this one. Only thing I would comment on is the top of the chairs and the horizon line above the ocean.
Not sure of a solution at the moment but the way they intersect is a little distracting.
This is a result of nothing more than not taking enough time to fully consider and appreciate a better composition. In other words carelessness.I find that I have to consciously remind myself to slow down especially when travelling and knowing that I may not get a second chance to get the shot.
I used a low perspective so that I wasn't shooting down on the chairs. Of course if I had raised my perspective just a little higher, the ocean horizon would have been above the top of the chair backs.
Clicked this from my balcony here in Ras Al Khaimah, United Arab Emirates. Moment after the sun rise. Used Nikon D600 with 70-300mm lens.![]()
One of the great things I enjoy about shooting film is slowing the pace down and knowing you have a finite amount of shots.
Coming back to this scene my suggestion would have been to get a little higher (footstool/step-ladder) higher so that you could frame the grass on the bottom thirds and the sea on the top third line leaving the seats to be roughly in the middle.
Obviously you probably didn't have the option of carrying a step ladder around with you but that strikes me as an obvious way to get this shot to conform to a classic 'perfect' composition.
I don't know how permanent those seats are but if you have the chance to go back I really think this is a compelling scene that with a bit more planning could make a really great shot.
And it's just as easy to slow down when using digital; we just have to decide to do it!![]()
Love the vibrant contrasting colours in this one. Only thing I would comment on is the top of the chairs and the horizon line above the ocean.
Not sure of a solution at the moment but the way they intersect is a little distracting.
Thanks for the feedback Archie...much appreciated.
This is a result of nothing more than not taking enough time to fully consider and appreciate a better composition. In other words carelessness.I find that I have to consciously remind myself to slow down especially when travelling and knowing that I may not get a second chance to get the shot.
I used a low perspective so that I wasn't shooting down on the chairs. Of course if I had raised my perspective just a little higher, the ocean horizon would have been above the top of the chair backs.
Thanks again Archie,
Peter
Thanks for the feedback. I have upped the highlights and lowered the blacks so it does have a bit more punch now.
I should have thought more about levelling it off in camera. When I shoot film I use it as a hobby and a learning process. As you can see from my inclusion of the borders I try to keep it as close to 'as shot' as possible. If it was digital I would level it without a hesitation but as I like to take my time with film shots it will stand as a reminder that I should have bothered to spend the extra few seconds levelling it in camera.
I realise it's not a hugely compelling scene but I did feel completely lost looking around for a shot to shoot. I feel much more comfortable with people and feel better placing them in different surroundings. I like the subject isolation that the depth of field allows for as well which I am sure would be very different in a landscape/urban picture.
For the meantime I will probably stick to what I enjoy as I like the human interaction of portraits as well!