Photo Stories – Page 18

October 31, 2010January 14, 2013

Moonset Over The Sierra (Photo of the week)

A crescent moon glows in the warm colors of sunset as it sets behind the crest of the Sierra.

This week’s shot was taken a few weeks ago from high atop the crest of the White Mountains, at about 11,500 feet elevation. The moon was setting about half an hour behind the sun, providing an opportunity for a nice crescent moon, lit up by the dramatic colors of sunset. My particular location allowed me to anchor the photo with the silhouetted crest of the eastern Sierra, giving the image weight and a sense of scale and perspective.

On the technical side, in order to achieve this photo, I had to pull out all the stops. In order to keep the shutter speed down, I bumped up my ISO to 200 (I try to shoot most of my landscape work at 100). I didn’t want to go any higher, so I could keep the dark, rich tones of the sunset relatively noise free. I used my 100-400L lens at 310mm, and locked it down onto my tripod. I also made sure to turn off the image stabilizer, because if it kicked in here, it would most likely lead to a blurrier photo than I’d get without it. Finally, I locked up the mirror and set the camera to a 2 second self-timer mode. Unlike Nikon, with the 2 second self-timer, Canon cameras will lock the mirror when you press the shutter release, wait two seconds, and then trip the shutter. This allows the camera itself 2 seconds to settle down after being rattled by the vibration of the mirror slap. Normally, none of this matters, but at this magnification along with the 1.3 second shutter speed I used, even small vibrations will degrade the photo. I framed my shot, held my breath, and pressed the shutter release. Two seconds later I had the photo I wanted.

October 25, 2010January 14, 2013

Barrel Cactus, Alabama Hills (Photo of the week)

Barrel cactus grows throughout the dynamic landscape of Alabama Hills

This week’s photo was taken on a recent morning spent in Alabama Hills just outside of Lone Pine, California. I was there with a group from a Mountain Light workshop led by David Muench. After capturing the unreal alpenglow on the peaks of the nearby eastern Sierra fourteen-ers, I sought out some other foregrounds and settled on this group of barrel cacti. I wanted to really emphasize the texture and contrast of these plants, and minimize the sheer faces of the mountains looming in the background. I played with angles and converging lines here for quite a while until I got something I liked. In the end, I mounted the camera just above and behind the cactus, shooting them with a wide angle only a few inches away.

Barrel cactus flourishes in the high desert of Alabama Hills

The shot above was another take an a different cluster of cacti. Here I had to balance the shaded foreground with the brightly lit mountains and rock, which was in full sun by this point in the morning. In the end I blended two shots, the first exposed correctly for the mountainous background (with the highlights pushed all the way to the right of the histogram). The second shot was exposed two stops lighter, in order to get adequate detail in the shadowed foreground. I find that blending two images that are more than two stops from each other looks too unnatural – I would rather sacrifice some detail in the shadows and bring the exposures of the two shots closer together.

Which cactus shot do you like better?

October 18, 2010January 14, 2013

Great Horned Owl (Photo of the week)

A great horned owl sits on a tree branch at dusk, surveying the area for potential prey.

This week’s shot was taken near Bishop, CA in an open field with a nearby stream. Although I was out shooting landscapes, I had my 100-400L mounted on a second body and slung over my shoulder. I was glad I thought to bring this “just in case” setup. You never know when you’ll run into wildlife!

Some friends alerted me to the owl’s presence, and as I got closer, I was presented with two problems, both relating to the lighting conditions. First of all, the sun was setting behind the tree in which the owl was perched. This created a strong silhouette of the tree branch with the owl. Sometimes silhouettes can work well with birds, especially if there is a strong graphical element to the shape of the bird. That wasn’t going to work here, because the shape of the owl was a simple oval – nothing interesting there. Moving closer to the tree and beneath it shielded me from the setting sun and allowing my camera meter to expose properly for the scene.

Now I was presented with the second lighting problem – it was getting dark. I had my landscape tripod with me, but I had ditched it as I started stalking closer to the tree. I knew I wouldn’t have had time to set up my lens on the tripod anyway, so I was stuck hand-holding. I checked my camera-recommended shutter speed (I often shoot in aperture priority), and knew that I couldn’t hand-hold at that speed and keep the image sharp. So I did what any modern digital shooter would do – I cranked up the ISO. I knew I could at least have a chance of recovering the photo from excessive noise. There is no salvaging a blurry photo.

After I had fired off a few shots, the owl decided he would rather have a little more solitude and flew off to another perch. It was very serendipitous to have run into this bird – if I had gone out specifically looking for a great horned owl, I’m sure I never would have found one.

October 6, 2010January 14, 2013

Eagle Creek (Photo of the week)

A long exposure turns the flowing water of Eagle Creek to silk, Eagle Cap Wilderness, Oregon

On the last evening of my recent backpacking trip to Eagle Cap Wilderness, I had some time to photograph Eagle Creek, which was close to camp. Through a combination of the late hour of the day and my polarized filter, I was forced to use a slow shutter speed.

When photographing movement (especially water), a slow shutter is often desired, so I decided to accentuate the effect by setting the camera to ISO 50 (instead of my usual ISO 100 setting for landscapes). This gave me a shutter speed of 6 seconds at f/16, rendering to the rushing water into a smooth abstract. The polarized filter took all the reflective sheen off of the vegetation, allowing the green bushes to pop.

This image could have benefited from a slightly wider angle lens. Unfortunately, after much internal debate, I had decided not to bring by 17-40mm lens along on the trail (purely a weight issue). I use the 24-70mm lens for most of my backpacking work, but in the future, I will probably carry the wider lens with me for occasions like this.

Below are a couple more shots from the creek.

The surface of the water appears to be smooth, due to the long exposure. Eagle Cap Wilderness, Oregon

This shot was taken above Eagle Creek, looking down at the water, Eagle Cap Wilderness, Oregon