Posts Tagged ‘landscape photography’

Blue October Sea

Wednesday, November 19th, 2008

From a trip to the southern Oregon coast with a group of Ashland photographers a couple of weeks ago.  I liked the barnacle patterns on this rock and spent some time working on longer exposures to capture some wave motion for an interesting middle ground.  As many of us who like to capture wave motion in our ocean photos well know, it is hard to get in the right position and still stay dry.  I ended up stranded on this rock for several wave cycles until the surf went back out enough for me to wade to shore…the surf here wasn’t dangerous, just wet.

On the hike back to the car a woman approached me on the beach and said, “are you Sean Bagshaw?”  I immediately wondered what I was in trouble for.  It turns out she was with someone in the group.  I had wandered off for quite a while and they were ready to go.  Since she was walking my way they asked her to have me get a move on.  Apparently they had told her I would be easy to spot because I would be carrying a tripod and most likely be wet up to the waist.  I hate being so predictable.

Canon 5D, 16-35mm f/2.8 L @ 28mm, 2 sec @ f/18 and ISO 50, 3 stop ND filter for longer exposure time.

Red Willow Sea Wins in the ICP Awards

Friday, September 19th, 2008
Red Willow Sea

Two of my prints were juried in to the International Conservation Photography Awards exhibit this year.  Red Willow Sea was the winning image in the Flora category and Lunar Eclipse Over Mt. Shasta was also accepted in the highly competitive Landscape category.

Lunar Eclipse

The International Conservation Photography Awards (ICP Awards), is a premier worldwide photography event. The biennial juried photo competition includes an online exhibit, a six week museum gallery show at the Museum of History and Industry in Seattle, Washington, and publication in a prestigious photography magazine. The selected prints celebrate the world’s diversity along with the creativity and originality of photographers.

Known for his passionate advocacy of the environment, world renowned nature photographer Art Wolfe created a conservation-themed photo contest in 1997 as “an event for the advancement of photogaphy as a unique medium, capable of bringing awareness and preservation to our environment through art.” The 2008 International Conservation Photography Awards is the latest incarnation of Art Wolfe’s vision. The ICP Awards is a biennial (every two years) community event involving foundations, sponsors, politicians, and photographers to promote environmental and cultural conservation.

Photo Tip: The Difference Light Makes

Monday, August 18th, 2008

Photography is all about light. Without it, no photo. However it goes far beyond that. The type, direction, color, amount and quality of light, as well as the photographer’s ability to see and manage the light, are serious contributors to the success of a photo. The ability to see, feel and anticipate light as well as know how the camera will capture light are skills that take a long time to acquire. Some light is right for some scenes but completely wrong for others. The best way to learn what works and what doesn’t is to get out and shoot in all lighting conditions and stick around to shoot the same subject as light is changing, all the while making special note of how the light looks to the eye.

Sometimes it is difficult to know by eye just how much impact the light going to have on a photograph. The best way to realize the impact of light is to compare photos of the same subject matter under different lighting. The following two photographs really illustrate the value of such an exercise. These photos were taken less than two minutes apart, one before the sun rose over the horizon and the second, just after. There are times when the soft glowing light that comes just before sunrise gives perfect even, luminescent lighting to a scene, picking up subtle details and working its way into the deepest shadows. However, in this case, there isn’t enough separation of elements or correctly angled surfaces in the scene. The even lighting causes the tree, rocks and mountains to appear muddy and not well defined and the sky washes out to an unattractive white.

tree 1
tree 2

What a difference a little time makes. In the second image, just a few seconds later, bright, warm, low angle direct sunlight has broken over the horizon, side lighting the scene. It brings out color and adds needed definition and depth to the image, all things the eye looks for. In addition, the direct sunlight coming in at 90 degrees to the camera lens allow for the best polarization effect from a circular polarizer, enhancing the color of the tree and rocks and helping to darken the blue sky.

The composition itself isn’t particularly interesting, but the addition of the right light can make a surprising difference in how appealing it is to the eye. This is a great example of a particular type of light enhancing an image. Unfortunately, it isn’t a perfect formula for success and you shouldn’t try to achieve the same type of lighting for every image you take. In another situation you might find that the pre sunrise light actually creates the most appealing image.

It all comes down to time spent shooting in all lighting conditions, becoming more familiar with what works and increasing your chances of being there when the light is right.

Featured Photo: Land of Pure Sunlight

Tuesday, June 10th, 2008

land of pure sunlight

When I go out in search of colorful sunrises I am normally met by either complete cloud cover or complete blue sky (anyone else have that experience?). This photo falls into the latter category. However, the crystal clear spring air made for some great stretched out sunrise shadows and direct sun did a nice job of back lighting the new grass and blooming vetch. I like the drama that extreme lighting like this provides. There are a few strangely dark areas in the oak trees that are part of the original RAW files. There isn’t much data there, so I’m not sure how to deal with that.

Canon EOS 5D, Canon 16-35mm f/2.8L lens, ISO 100, f/18, two different exposures blended manually in Photoshop to contain the wide dynamic range between the sun and the foreground.