Originally uploaded by Douglas Remington - Ethereal Light™
Wide open F2.8 hand held 1/90 sec.
Went to the Oregon coast with Flickr shooter, Lynn Midford: I www.flickr.com/photos/10084268@N06/ found out she lives down the street, so it was a no brainer to go shoot together. She's a great fun gall and a heck of a macro shooter, not to mention everything else. We stopped to eat at this Mexican restaurant on the coast that didn't know if they had fish tacos, and their water tasted like burnt electrical wires. Right about the time we got done eating I looked out the window expecting the grey clouds to be remaining. However to my surprise; it was on!
We ran out of there and jumped into the car and quickly found beach access. It must had been hilarious to see us dashing around like ants on a hot stove.
This is one of the images I made from the mottled light show.
Thanks Lynn for the company!
Shot on my Camera's custom vivid channel, single exposure and slight vignette added.
I don't know if any of you saw the killer cloud-light-show west of Portland this evening but I thought I would share this one. It's another from my backyard. If you use your imagination, the cloud takes on the shape of an eagle flying.
Here's an HDR I did a year and a half ago. I only have a couple HDR's I will show. I don't care much for them usually. But this scene is pretty cool as an hdr.
MOST (not all) people in my opinion don't know how to do them right. Usually they look really cheesy, giant halos, crazy colors, cartoon looking, soft. Many Flickr shooters use them and don't mention that they are HDR's and people somehow think they are some kind of alchemist. I think many of them are ruining their best work.
For those who don't know, HDR's technically are images that have an expanded dynamic range from blending multiple images or parts of the images via a program like exposure fusion, Photoshop, or photomatix. Some people actually believe exposure fusion is NOT hdr; that is not the case.
I feel if one has to expand the dynamic range, then manual by hand blending gives a far more natural look. Naturally this is labor intesive and that is why these automated programs are popular. Rarely will I have to do this if I get the right exposure, or using a neutral grad for example will hold down a bright sky and you won't have to do the multiple exposure thing.
I was in the area, so I photographed the Tour de Hillsboro for a short while durring mostly the girls race. Played around with motion-blur-panning.
Some of the retailers werent happy that they did this on Mainstreet because clients couldn't get to the buisnesses. I heard its cost them thousands of dollars; such as city "wisdom."
I was on a hike in the Olympic mountains in Washington State with my Cousin, Alan, Mei-ling, and Jim, when I injured myself. I told the others to go ahead and come back for me in a few days. They wouldn't hear of it, and so the adventure was ruined. We decided to go back home and do the climb another time. On the drive back, well nature was calling so we pulled over and came across this field of "wildflowers" - the greatest field of colour I have seen to date. I thought about how to capture it in different ways. Tried wide angle shots, different comps, and ultimately decided on compressing the colors with the big glass; time for the 400mm! Who photographs flowers with a 400mm lens? I do!
The effect is not a Photoshop one, but an in camera technique with no lens filters. To this day, this has been my biggest seller.
Just playing around with my new Zeiss wide angle this afternoon. Handheld at F8. Pretty breezy so couldnt stop down more. Just focused on poppie to the upper right.
From the test I have done so far, unlike Nikon and Canon's best; this lens has no CA whatsoever and is uber sharp! I guess that's what 2 grand gets ya - ouch!
Added a vignette to pull the eyes inward.
Another from my backyard near Portland. The wind was really playing games with me on this one. I got one moment in time to squeeze one off.
The Lucid Union of Light. Mt. Hood and Lost Lake, Oregon
B+W infrared. 355 second exposure.
Nothing to spectacular here, just some typical alpine glow on Mt. Hood at Lost Lake. Was shooting with my bud, Gary Randall here the other night.
From yesterday morning. Shooting with Gary Randall.
We stopped somewhere off of lolo pass road about 3:30am. 86 sec exposure. Light painted the trees with headlamp.
My friend, Gary Randall and I took a spin up lost lake. No interesting clouds, but got a so so image I suppose. If you haven't checked out Gary's stream, I recommend you do so: www.flickr.com/photos/rowdey/
Sunset at Hug Point, long 128 sec exposure, B+W 110, Singh-ray Galen Rowell 2 stop hard NG moved up and down by hand for entire exposure
Grand Finale, Portland Oregon. To get this view, I discovered the Authorities do not take to kindly to photogs jumping the fence! I do believe a couple of these burst were from some intrepid amateurs! I think this must be my best fireworks photo, however I have only photographed fireworks twice in 15 years. :)
238 second exposure @f14.
Here's some tips for the non Pros, and for the Pros that don't do these sort of images.
This looks like a very calm serene image from the long exposure, however waves were crashing all around me, and unto me - had to do my best to protect my camera. The long exposure just averages all the action unto a silky palate. There was delicate marine life on the rocks (as you can see) that I was positioned on, so I had to be very careful to not disturb them. This puts one's body in a very unusual and achy position for the long exposure - too long to hold a neutral grad steadily over the lens (us pros never use those clunky filter holders) to keep the sky from blowing out. The solution? Here's a little secret I learned from Oregon large format photographer, David Jensen in the mid 1990's. You take a matt black piece of artist paper or other medium, and you dodge or burn (depending whether you are shooting negative or slide) by blocking the portion over the lens (during the exposure) that would contain the sky - by moving the medium up and down. This definitely takes practice but I have been doing it ever since!
This scene was photographed with a German made 10 stop neutral density filter which blocks out most of the light - enabling you to do a very long exposure. For beginners I recommend a 6-8 stop at most. With a 10 stop (or even an 8 much of the time) you must compose and focus with the filter off, then screw the filter on before you shoot. You need a shutter release that locks your shutter open on the manual bulb setting, and here's the part that's non-scientific. The light changes drastically at sunset and sunrise, therefore you are simply guessing (or using intuition from experience) as to how long to keep the shutter locked down since we are shooting longer than 30 sec (most cameras only go up to 30sec) on the bulb setting. Luckily with digital cameras, you can just check your image immediately after the exposure. Us old film guys had to master this stuff decades ago by burning up many, many, rolls of film!
Let me know if this was helpful!
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