Splash

I don’t know if wave splashes in long exposure have any artistic value, but they are sure fun to obtain. They are also impossible to replicate. Taking a long exposure photograph is looking at the scene in whole different away. It is magical, it slows up the time for your eye to see.

A few times in the last two months I have been, alone or with friends, to this place near the Golden Gate Bridge called Rodeo Beach. It is relatively close to my home and that allows me to arrive early and leave before lunch time, just when the parking lots are getting full. There, on the right hand corner where the surfers hang out, it is possible to photograph the most amazing splashes.

Click on the thumbnails below to see a larger version of the images. A summary of my long exposure images can be found in my Ocean gallery.

Location: Coastal trail at the Marin Headlands, Sausalito, California, USA;

Equipment: Nikon D750, AF-S NIKKOR 70-200mm F2.8,  Lee Filters (Polarizer, 6 stops); tripod;

Settings: 200 mm f/18, 1/5s, ISO 320; 

Tips: Get there early. The Marin Headlands is a very popular place, and it gets really full of people. Take different grades of neutral density filters to the photoshoot: the light in this location changes fast, from overcast and dark to bright and sunny. When doing long exposure of the ocean, don’t be scanty, take many pictures with the same settings and vary the camera’s settings also. It is better to sort things out at home than to miss that especial moment when the waves do just the right thing.

My dream of Bodie

This post summarizes my impressions of Bodie State Historic Park, which I visited for the first time last October (2020). Despite the heat, dust and smoke from wildfires, I did enjoy the visit. My friend Beth and I were in the midst of a fall colors chasing expedition when we found ourselves in the area. The small detour to the park was a good way to take a break from yellow leaves.

For those who don’t know, Bodie was a bustling town with more than 10,000 residents and produced more than $35 million in gold and silver, from 1877 to 1882. Now, long past the days of the gold mining of California, it counts with almost 200 abandoned wooden buildings in a state of “arrested decay”. The buildings are not maintained and at the time of our visit, quite a few sites had restricted public access due to collapsing structures.

Scroll to see all photos in the slide show below.

Location: Bodie State Historic Park of California is located in the Eastern Sierra close to Bridgeport, CA, USA

Equipment: Nikon D750, Nikon Z50, AF-S NIKKOR 24-70mm F2.8G and AF-S NIKKOR 70-200 mm F2.8G). 

Settings: variable, compatible with hand holding the camera.

Tips: get there early, particularly in the summertime. No cell phone reception in the park. Bring plenty of water, a hat, suncreen. To give the photographs an old look, I lightened the sky and and grass using with the blue and aqua and green and yellow color sliders in Photoshop, respectively. I also added grain and a white vignette to that effect.

Spring Musings in black and white

Tulip Portrait

We were a group of four going out for photography on a Saturday. Then one group member also wanted to go out on the Friday before, two volunteered to join. I bailed on the Friday because I had to work. Next, two of the three bailed on the Friday outing and then three of us made plans for Saturday morning, but two bailed on the Saturday plans and all was suddenly canceled as a result. The light was not going to be good anyway.  This is not the end of the story, but…

Unlike photography plans with other people, still life and close-ups at home by oneself does not require good weather and depends on no one else. In a previous post I mentioned darkening the background and selective lightening as a means to make flower pictures a little more interesting. If you are like me and rather work in black and white, there are also numerous possibilities. However, since color is not present to bring interest, the composition will have to highlight the shape, form and texture of the flower.  

More of my botanical photographs can be found here.

Location: studio;

Equipment: Nikon Z50, AF-S NIKKOR 105mm F2.8G,  speedlight, off camera trigger, light stand, diffuser, Red Lee Polyester filter, black background;

Settings: f/18, 6s, ISO 100;

Tips: separate the background from the subject when using the flash, position one flash plus diffuser around 8 o’clock with respect to the flower. In the picture above, I used  Lee Polyester Filters for black and white photography. These types of filters are rarely used these days because there is a way to achieve a similar effect in post-processing. A filter will lighten any color that is similar to its own and darken other colors. In the example above, the red flower would be rendered dark, almost black, “out of camera” if you set your picture mode to monochrome, or in post-processing, if you convert to black and white by simply desaturating the picture. With the filter, it was rendered light grey, giving me more possibilities to work with. 

Cloudy ocean

Cloudy Ocean

Sometimes a photograph becomes so abstract that it is no longer a representation of reality. I took this black and white, high key picture during a camping trip at Patrick’s Point State Park, September 2019. The park, located 25 miles north of Eureka, has many sweeping views of the ocean from cliffs and beaches. The weather was mostly rainy, overcast, and foggy, typical of the region.

Unlike the ocean photos in my previous posts (Beyond Fort Ross, My Mood of the Ocean and The Face of the Ocean), where I emphasized dark areas in conjunction with smaller bright areas to achieve a “dark and moody” feeling, the image above  has a “bright and airy” look with a preponderance of paler tones. These types of images, to me, are dreamy, soothing, and have the lightness of unreality.

The two types of images mentioned above are best taken under different conditions: generally, dark and moody require a contrasty scene to start with, whereas bright and airy are easier to take under very diffuse light and low natural contrast.

Location: Patrick’s Point State Park, CA, USA

Equipment: Nikon D750, AF-S NIKKOR 24-70mm F2.8, tripod, lee filters (polarizer, 6 stops, blue filter).

Settings: 50 mm, f/14, 30”, ISO 100

Tips: Southern and central Californians be aware, it rains there! Little to no cell phone reception on the coast. Use a remote trigger, experiment with very long exposures for this look (25″ and up). In post, played the the blue slider in Photoshop to lighten the blues and slightly overexposed the image.

Anatomy of a monocot leaf

Parallel Lines

In a previous post I showed the leaf of a dicot plant, which is characterized by branching major leaf veins. The leaf above, on which I applied the same photographic technique, is a monocot plant, characterized by major leaf veins running parallel.

This is the leaf of a Cala Lilly. I took this photograph on January 31, at the local arboretum. The leaf is large, green, glossy. I converted the photograph into black and white to enhance the vein pattern and I also added grain in post-processing to enhance the texture.

Location: UC Davis Arboretum, CA, USA.

Equipment: Nikon D750, AF-S NIKKOR 105mm F2.8G,  speedlight, off camera trigger, light stand, diffuser.

Settings: f/8, 1/200”, ISO 100.

Tips: to highlight the shape of the leaf and the veins, and avoid glow, illuminate from behind. I used an off-camera speed light going through a diffuser placed behind the leaf.

Ocean view

Ocean View

Classically, landscape photography has focused on the natural landscape that has not been modified by humans. Little by little, however, photographers have started to balance the pristine beauty of the land with anthropic elements in a movement loosely known as “contemporary landscape”. 

Last Monday, February 8th, when I visited the Portuguese Beach for photography, I initially tried to avoid photographing the houses on the cliffs and along the beach.  However, they were so ubiquitous and so conspicuous that not only I surrendered to their presence, but I also made them an important component of my compositions.

Location: Portuguese Beach along Highway 1, Sonoma County, CA, USA

Equipment: Nikon D750, AF-S NIKKOR 70-200 mm; tripod, Lee filters (polarizer, Neutral density, Graduated Neutral density, blue);

Settings: 200 mm, f/20, 5”, ISO 50 ;

Tips:  Get there early. Sonoma Coast is a very popular place, and it gets really full of people. Be careful on the cliffs, it can be dangerous to approach the edges. Take different grades of neutral density filters, because the light in this location changes fast, from overcast and dark to bright and sunny. A polarizer and graduated ND filters are also advisable.

Spring musings

“If you want something to look interesting, don’t light all of it.” Quote attributed to John Loengard (he died last year at age 85).

Chaparral Currant, Hybrid Hellebore and California Poppy were flowering last weekend at the UC Davis arboretum. There were a few other flowers in the garden: Angel’s trumpets, succulents, yellow daisies, Manzanita, Narcissus and Oxalis

Spring is finally upon us in California. Soon, the social media sites will be filled with flower pictures, so it’s a good time now to start thinking about different techniques to capture these beautiful subjects. Selective lighting and darkening the background are among my favorite tricks to make a flower picture look a little different. What is yours?

Chaparral Currant

California Poppy

Location: UC Davis Arboretum, CA, USA;

Equipment: Nikon D750, AF-S NIKKOR 105mm F2.8G,  speedlight, off camera trigger, light stand, Rogue Flash Grid System;

Settings: f/5, 1/200”, ISO 100;

Tips: To obtain a dark background,  I used an off-camera speed light going through a Rogue Flash Grid pointing at the flower from the side. The grid directs the light into a spot, rather than illuminating all of the subject. A diffuser between the subject and the flash is always advisable. I used a piece of foam underneath the grid to soften the otherwise hard light coming from the speed-light.   

The Mermaid’s face

It is Friday again and the weekend is upon us. I have not made photography plans yet, the forecast says that it will be sunny everywhere. Definitely not a good forecast for photography.

I have been to the Marin Headlands a number of times, and those who follow me on Instagram might have seen a few photos I took at that place. And even though I have photographed the three rocks below several times and again, it was only last Saturday that I saw the Mermaid’s face. 

Location: Coastal trail at the Marin Headlands, Sausalito, California, USA;

Equipment: Nikon D750, AF-S NIKKOR 70-200mm F2.8,  Lee Filters (Polarizer, 6 stops); tripod;

Settings: 200 mm f/20, 5”, ISO 50;

Tips: Get there early. The Marin Headlands is a very popular place, and it gets really full of people. Take different grades of neutral density filters to the photoshoot: the light in this location changes fast, from overcast and dark to bright and sunny. When doing long exposure of the ocean, don’t be scanty, take many pictures with the same settings and vary the camera’s settings also. It is better to sort things out at home than to miss that especial moment when the waves do just the right thing.

Curves

Curves

This blog is now one month old, a baby still. And since this is an anniversary of sorts, I want to call attention to a book that has inspired me in my photographic journey, “Fine Art Photography, Water, Ice and Fog” by Tony Sweet,  Stackpole Books (not sure which year it was published). The book centers around the idea of working-the-subject, whereby the photographer focuses on one thing while using different lenses and techniques to bring out his or her vision. This tactic sharply contrasts with the hit-and-run method, more common, of taking a few snapshots of one subject and quickly moving on to another. 

I am drawn to the curves and shapes of the flowers of these solanaceous plants of the genus Brugmansia. Also known as Angel’s trumpets, these flowers contain hallucinogen alkaloids which, if ingested (don’t do it, it can be fatal), would cause them to look even more strange. Practicing the working-the-subject approach, I came back to the garden a few times and used different techniques to obtain my images. I liked the results of the one above, and a few others I might post here in the future.

Location: UC Davis Arboretum, CA, US;

Equipment: Nikon Z50, AF-S NIKKOR 105mm f2.8G, tripod, speedlight;

Settings: f/18, 1/200s, ISO 320;

Tips: to obtain a black background, put your camera in spot metering and calculate the exposure for the flower. I used an off-camera speed light going through a diffuser placed underneath the hanging flower to allow me to use flash sync speed, since it was a little windy out there. 

The face of the ocean

The Face of the Ocean

On January 09, I came home with many pictures from the Fort Ross expedition. At first, I wanted to delete all of them: the camera-processed jpgs looked lifeless and uninteresting. As I started processing the raw files, however, I began to like a few, two of which I have already posted on this blog: Beyond Fort Ross and My Mood of the Ocean. The one above is, in my opinion, a nice abstract addition to that series. 

Unlike the photographers who are proud of their “in camera” photographic accomplishments and process their images with “no edits” and only small adjustments, I like to work more consistently on my photos in post-processing. The final product may take several hours of work to accomplish, and it may not look anything like I saw when I was taking the picture. As I pointed out in a previous post, developing my photographs in black and white helps to free my mind, and the viewers’, from the original scene, or from what an equivalent scene is supposed to look like. On this day, the sky was blue, the sun was out, and the ocean was unquiet.

Location: Fort Ross Cove in Sonoma County, CA, USA;

Equipment: Nikon D750, AF-S NIKKOR 24-70mm F2.8G ED, tripod, lee filters (polarizer, 6 stops Neutral Density filter,  1 stop N.D. graduated filter);

Settings: 70 mm, f/22, 10”, ISO 50;

Tips: get there early, particularly in the summer. No cell phone reception on the coast. Use a remote trigger with the filters mentioned above, experiment with different exposures. To darken the sky and bring out contrast in the ocean water, play with the blue and aqua color sliders in Photoshop. To have shapes appearing at the wave break while also capturing some texture, 6’’ to 10’’ exposures are needed.