Thursday, March 31, 2016

UNDERSTANDING SHUTTER SPEEDS AND F-STOPS (APERTURES)

PART 2 OF HOW TO GET RID OF BLURRY PHOTOS:
UNDERSTANDING SHUTTER SPEEDS AND F-STOPS
IN AN EASY TO UNDERSTAND LESSON:

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Ok, this is a subject I have put off too long.  Understanding your camera, whether it's just an automatic camera, a full manual camera where you can set everything, and / or even a cell phone camera, they all work the same.  Some are so automatic, you are probably thinking, I don't need to know all this. Wrong !  If you get blurry photos, you need to read this, and then you can understand why your fully automatic camera is doing what it is doing.  All cameras have some form of shutter speeds and aperture settings, whether it is done automatically or you can partially set it, or set it by pictures, or "modes", it is all the same.  So, here is the best explanation I have seen.  Hope you enjoy this:

How is an exposure made and what does the camera do to make sure an image is recorded? There are two parts involved in exposing film or a digital sensor to light.  One is the intensity of the light and the other is the length of time the light is allowed to strike the film or sensor. Exposure= intensity x time.  Above the door in my photography class was this sign: E=IxT.  Some students thought it meant EXIT.
"CloudsHDR22" captured by Hakan Erman
“CloudsHDR22” captured by Hakan Erman (Click Image to Find Photographer)
The f stop (aperture) is the iris in the lens that allows a measured amount of light to strike the film. This f stop is determined mathematically by the size of the iris opening of the lens, the lenses focal length, and the dimensions of the film or sensor.  It is a factor of these three things, so the name f (factor) stop.  Each “stop” either doubles or halves the amount of light allowed through the lens. In the old days each stop was a click on the lens.  You could look through the lens and see the iris opening and closing as you rotated the dial.  Now, most camera lenses are calibrated into thirds of a stop so instead of f stop numbers of  2.8, 4, 5.6, and 8 (which are full stops) you have stops like 4, 4.5, 5, 5.6, 6.3, 7.1, 8 (which divides each stop into thirds.  F 4 means that basically the hole on the lens is ¼ the length of the lens.  F 8 means the hole in the lens is 1/8 the length of the lens.  Remember, an f stop is a factor and the bottom part of a fraction.
One of the confusing parts of f stops is the larger the number the smaller the opening.If you think… a hole that is 1/8th the length of the lens is smaller than a hole that is ¼ the length of the lens.  Using a plumbing analogy, a ¼ inch pipe will allow more water through it than an 1/8th inch pipe as long as the water pressure is the same.
"for your eyes only" captured by Federico
“for your eyes only” captured by Federico (Click Image to Find Photographer)
The other part of an exposure is the amount of time that the film or sensor is exposed.  The longer the shutter is open, the longer the light has to expose the film, the shorter the shutter is open, the less time there is to exposed the film. Where the job of the lens is to measure and focus the light the job of the camera is to open and close the shutter and record the image.  Just like with the lenses “stops” the shutter also has stops.  In the old days (again) each shutter speed was a click stop.  Each stop was either twice as long or half as much time.  Shutter speeds were like 1/30th, 1/60th , 1/125th, 1/250th of second.
These represented  halving the amount of light one direction and doubling it the other.  Modern cameras shutters are now calibrated in thirds of a stop so you have shutter speeds like 1/30, 1/40, 1/50, 1/60, 1/80, 1/100, and 1/125th of a second.  Now the reason both f stops and shutter speeds are broken down into thirds of a stop is to allow for a more accurate exposure.  In the old days you had to fudge between the click stops for a more accurate exposure.
shutter speed setting
“Bukas Na Kami 6” captured by rob castro (click image to see more from rob castro)
Now if you look carefully you’ll see a relationship between f stops and shutter speeds. Each full f stop either halves or doubles the amount of light entering the camera and each full shutter speed stop either halves or doubles the amount of time of the exposure.  Modern cameras automatically do this for you.  It is possible to have the same exposure with a variety of different f stops and shutter speeds depending on what effect you want to achieve. If you are in aperture priority and change the f stop the shutter speed automatically changes for a proper exposure; if you are in shutter speed priority and change the shutter speed the f stop automatically changes for a proper exposure.  Since you don’t have to manually change both factors of an exposure with modern cameras new photographers that have a hard time understanding this relationship.  Couple that with the fact that exposures are now broken down into thirds of a stop, trying to explain it all seems an exercise in futility.
So I know what you are wondering, if the camera automatically does this for me why should I care what my f stop or shutter speed is and, more importantly, why did you waste my time trying to explain it?  Well, knowledge is power.  Shutter speeds stop action or blur it depending on how fast or slow of a speed you use.  Aperture controls depth of field (a property of optics that renders sharpness to a given area).  You use this to isolate subjects or create images that are perfectly sharp throughout.  If you let the camera do everything for you you get average images and you don’t learn anything.
"Colisseum by night" captured by Francois Novecento Boutiee
“Colisseum by night” captured by Francois Novecento Boutiee (Click Image to Find Photographer)
If you want to stop action you now know you have to use a fast shutter speed and lose some depth of field. (Every time you use a faster shutter speed which cuts the length of time the film is exposed to light, you need to open up the aperture to let more light in.)  If you want everything in your photograph to be sharp you know you have to use a small aperture (high number) and you might have to put your camera on a tripod because you will need a slower shutter speed for a proper exposure. (Since only a little light is being allowed to pass through the lens you need to slow down the shutter speed and allow the film to be exposed for a longer time.)
If you want to learn how to have more control over how your photographs turn out look in your cameras owners manual and see how to access shooting modes and reread my article on shooting modes to refresh your memory.  Many cameras have these shooting modes on a dial on top of the camera for easy access.  By accessing these shooting modes you can fine tune your images and start to improve your photography.
About the Author:
Gene Rodman received his photography degree from Sierra College in California where he was named outstanding photographer of the year in 1992 (http://mtphotoarts.com). He has always had an interest in photography and after experiencing the beauty of Yosemite as a teenager realized what an amazing affect nature had on him. He has traveled extensively throughout the western United States and taken many photographs to record the adventures.
Thanks again to PictureCorrect and Gene Rodman for this great article. 

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123PHOTOGO

T I M E T O G O T O T H E Z O O !!! --- SPECIAL EDITION

TIME TO GO TO THE ZOO !!!
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With spring here, all around the world, except for those of you in Australia and South Africa, and those in the Southern hemisphere, we are all tired of winter, excited about spring, and we feel the urge to get out and do something fun.  Fun things with the family.  One of the many fun things we have always done with our family is take our kids to the Zoo.  The animals are getting more active too, and they seem to be enjoying spring as well.  I always bring my camera along to not only get pictures of the family, but, of course the animals there.  There are some very strange animals at zoos.  And it is great to get those pictures of them.  And some of the animals do some pretty crazy things.  So, with that, the only thing that has been frustrating to me is how do you take pictures of all these wonderful animals without it looking like you took them at the zoo?  Fences, cages, weird habitats, tons of people.  It just wasn't fun to get a great picture of the animals, and then want to hang up these pictures in your kids room, and then you got that ugly chain link fence with it.  BLAH!  So, I have put together a quick "photo tips" on how to take pictures at the zoo, from PictureCorrect, and then I will add a photo gallery at the end of some of the great photos found at the zoo!  So, we can all enjoy what is there, and we can try it too!

So, let's get started:

Where else can you go and spend a day photographing wild and exotic animals without leaving the city? The zoo, of course! You can take your time to get the perfect shots in a relatively safe environment. Keep in mind you are dealing with wild animals. And, if you choose to take the opportunity to get up close for that terrific shot of the llama, don’t be surprised if she spits at you.
tips for zoo photos
“Beautiful Lion” captured by J. Benedetto (Click Image to See More From J. Benedetto)

Go early in the morning, this is when the animals are the most active and there are fewer people to have to shoot around. If you haven’t done it ahead of time, when you arrive, check out the zoo activities. Feeding times and any exhibits you may especially want to photograph are good to have planned out. If your zoo has an aquatic exhibit with performances, schedule your day to be in that area to catch the show. You should be able to get some great action shots. But be careful where you stand. If the zoo has large animal displays, people in the front tend to get pretty soaked and we all know water and cameras don’t mix. You’re better off positioning yourself up and back and using your telephoto lens.

Have your camera bag ready to go with all the equipment you’ll need for an easy day at the zoo. Consider using your rolling backpack camera bag to make maneuvering through the zoo effortless. Besides your camera and telephoto lens, take along a tripod, if your zoo allows them. If not, ask if a string tripod would be allowed. They’re not as effective, but they will offer some stability. Have plenty of memory cards and batteries. If you have a lens hood, take it along. Since you won’t necessarily be able to have the sun where you want it and you will also be taking shots through glass, you’ll probably be able put one to good use.

Be polite. Don’t forget that the primary purpose of the zoo is for everyone, especially families, to enjoy a day together viewing and learning about the animals. Don’t spread out and restrict the view of other visitors for extended periods of time. If your zoo does allow tripods, be courteous in setting it up. Choose a location where you can get your shot without inconveniencing others. Don’t set up on the sidewalks. Follow the rules, and be considerate of the other visitors.

You can get phenomenal shots and still operate safely. Again, follow the rules. Never cross barriers to get a closer view. The animals don’t understand you’re just trying to take their picture. To some of them, you could be breakfast. Safety always needs to come first. With the right equipment and techniques, you don’t have to climb fences to get that awesome polar bear picture. You’ve packed the right equipment in your camera bag to photograph safely.

You can use a shallow depth of field to blur any unwanted background and produce a great wildlife photograph. Many of our nation’s zoos are housing their animals in more natural settings, without the use of bars. There are still, however, many zoos with animals in cages. To photograph through a cage try to find a wide opening, if there is one. To take a picture through the bars, use a longer focal length and a wider aperture and get as close as you can, safely. Be patient and take your shot when the animal moves towards the back of the cage.
zoo photography
Photo captured by ahmad reedzuan (click image to see more from ahmad reedzuan)
When photographing in glass enclosed exhibits, use your lens hood to reduce any glare. If you don’t have a lens hood and see glare in the glass, just move slightly until the glare disappears. If you’re in a dimly light, glass-enclosed exhibit and need your flash, use a diffuser and angle your camera to the glass to avoid glare from the flash.
If you follow these simple tips, you should end the day with a memory card loaded with fabulous wildlife images. Just remember; be prepared, follow the rules, stay safe, be polite, and have a great day at the zoo.
About the Author
Suzanne VanDeGrift  has developed this article for M-ROCK.com, manufacturer ofbackpacks.
Thanks to PictureCorrect and Suzanne VanDeGrift for this timely article on how to take pictures at the zoo.   I totally agree with everything that was written here.  We have found that the best time to take pictures at the zoo is first thing after it has just opened.  The feeding of the animals has just started, they are much more active, and the lighting is good, too.   Every zoo is different.  I know our zoo has some different animals than the zoo in California.  So, it doesn't hurt as you travel, to go  and visit the different zoos.  They are all very entertaining.  The incredible thing I am seeing, at least here in the United States, is that the zoos are trying to get away from the "caged" look and creating more of a habit similar to what the animals live in naturally.  So, taking pictures of these animals is becoming nicer and easier to do.  The "caged" effect is going away.  Our local zoo here where I live is under constant construction to help the animals have more of a natural habitat, and still keep the public safe.  
Now, I want to take the rest of this blog and show some pictures that I have found from various zoos.  I hope you will find them entertaining as well as inspiring as you go to the zoo this year.  Here we go:





























* All photos courtesy of San Diego Zoo Safari Park
So, hopefully, looking at these photos will give you an idea of how to be patient and wait for the perfect photo.  What I have found as I go to the zoo:  don't take pictures of the sleeping animals, wait until next time.  Get pictures of the animals that are awake and up and moving around.  Who wants a picture of a sleeping animal?  Right?  I know you are thinking of you may not get that chance again to take a picture of this rare animal, but, no one wants to see that picture either.  It looks like a zoo picture then.  The goal is to make it look like it's not a zoo picture, right?   So, have fun, enjoy the family, and enjoy the animals too.
Thanks again for your support, and please...... SHARE !!!!
123photogo

Wednesday, March 30, 2016

PHOTOS OF THE WEEK: MARCH 31ST, 2016

PHOTOS OF THE WEEK: MARCH 31ST, 2016
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Last day of March, and we are looking now at Spring at last !  And that means just great photos !  Once again, I have found in various locations throughout the internet world, the best "Photos of the Week".  So, we can learn, be inspired on how to take good photos ourselves.  So, with that, here are the best ones this week:

Award Winning Wildlife Photo / Other Side of Life


"The Power of Light"  Photo taken by:  Mikhail Kozhevnikov


Photo taken by Nanitriani77, Part of the Kings HDR group



"Sunrise in Tuscany" Photo taken by:  Toma Boncia


Photo taken by Castelo Photography
Note:  Biography sketch of Castelo Photography coming soon !!


Photo taken by artist from the group:  "Photographers without Borders"


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There they are !  6  of the best photos of this week!  Hope you enjoyed them.  And as I do every Thursday, I post 6 photos that are only found on this blog.  Photos taken by the greatest photographers from around the world.  Congratulations to those photographers, and thank you for your great talent.  




For direct communication:  Contact:  123photogo@gmail.com




Tuesday, March 29, 2016

***** New Technology Report **** New products from Sony

*****  New Technology Report **** New products from Sony
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Sony RX10 III
Sony
The Sony RX10 III has a lot of lens
Making the most of its Bionz X processor and the 1-inch sensor developed for theRX100 IV, Sony has announced the 20.1MP RX10 III. Like its tiny cousin, the RX10 III can capture 4K video without pixel binning, and can shoot slow-motion video at up to 960 frames per second for up to 40X slow-mo. It can also capture bursts at up to 14 fps, though you’ll have to sacrifice metering and autofocus between shots if you want to reach that speed.
The lens barrel itself has three control rings on it: one for zoom, one for focus, and one for aperture. The aperture ring has the option of click-stops or smooth operation. This helps when you’re shooting video and don’t want the jarring clicks screwing up your footage. The lens barrel has a focus hold button so you can lock focus and then recompose your image. That button can also be assigned a custom function if you don’t care for the notion of locking focus. One such custom function will zoom the lens all the way out with one press and then, with the second press, zoom back to the focal length you previously had. This can come in very handy if you lose track of your subject when shooting at very long focal lengths.
Other details include dust and moisture resistance, a Multi-Interface shoe for flashes or other accessories, an LCD panel on the camera top to check your settings, an OLED electronic viewfinder with slightly higher magnification than its predecessor, a tilting rear LCD screen, and sensitivity that spans ISO 64–12,800. Plus, thanks to the fast readout of the sensor, there’s a top electronic shutter speed of 1/32,000 sec with minimal motion distortion.
The RX10 III is expected to be available in May for $1,500.
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Sony 50mm f/1.8 full-frame prime lens
Sony
Sony's 50mm f/1.8 prime lens checks in at $250
An affordable 50mm prime lens has been a fundamental piece of many camera systems for decades. Now, Sony is adding a 50mm f/1.8 prime to full-frame FE its lineup for just $250. There’s also a new 70–300mm f/4.5–5.6 G OSS telephoto zoom lens to go with it.
It only got a small piece of the press release, but to me and lots of A7-seriesshooters out there, this is the really big news. The new standard prime weighs under seven ounces (less than half a pound) and cuts a similar form factor to other budget-minded 50mm lenses out there. It uses a revamped optical design with an aspherical element, as well as a metal mount (in the past, some cheaper 50s have used plastic in the name of affordability) and a circular aperture for more appealing bokeh.
The FE 50mm f/1.8 is coming in may and will cost $250. It’s a popular focal length with an affordable price, which makes the A7-series system even more accessible. It has seemed like a bit of a missing piece for a while now.
FE 70–300mm f/4.5–5.6 G OSS telephoto zoom
This is the longest lens in the E-mount system and it focuses closer than three feet, with a maximum magnification of 0.31X, so it’s rather versatile for a telephoto zoom, even though the variable maximum aperture is a bit slower than the f/2.8 you might see on a typical 70–200mm pro zoom. As you probably expect for a long lens like this one, it has built-in Optical Steady Shot for shake reduction.
Its 70–300mm should actually be a familiar focal range for many APS-C shooters, which makes this an interesting option for full-frame cameras. It will be available in May for $1,200
We’re looking forward to getting our hands on both new lenses as soon as they’re available, so stay tuned here for more.
Sony 70-300mm FE full-frame telephoto zoom lens
Sony
Sony 70-300mm FE full-frame telephoto zoom lens

Source:  Popular Photography.


Monday, March 28, 2016

INTERESTING PHOTOS CAPTURED THIS WEEK 3-29-2016

INTERESTING PHOTOS CAPTURED THIS WEEK 3-29-2016
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From my special source, I have collected a group of very interesting photos I thought you would enjoy this week.  Photographs that just make you go:  "WOW".....


Who needs panoramas when you can create tiny Earths on your smartphone? Notjsmooth7, who trekked up Panorama Ridge in Garibaldi Provincial Park, in British Columbia, Canada, only to eschew the namesake panoramic route and opt for a little sphere of wonder instead:
tiny earth photo
(Via Imgur. Click image to see full size.)
The photographer captured this shot with an old Nexus 4 phone and put it together with the Google Camera Photosphere app. If you’d rather go a different route, though, you can alsocreate these sorts of images in Photoshop.
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Bombo Headland was the site of a tremendously scientifically important quarry in New South Wales, Australia. That’s where, in 1926, someone discovered the world’s longest geomagnetic polarity interval, near what would become the town of Kiama, giving the quarry its geological title of the “Kiaman Reverse Superchron”. Also, it’s really pretty: 
boneyard-falls
The basalt columns, once part of a quarry, allow the waves to shoot straight up, requiring good timing for the waterfall effect. (Via 500px. Click for larger image.)
The shot makes the water look like painted brushstrokes. Australian landscape photographer Peter Hill snapped it in August 2011 with a Canon 5D Mark II and a 45mm tilt-shift prime lens.  as part of his ongoing series capturing the lush greenery and harsh rock of Australian nature. Despite some critics of the photo believing it to be more processed than it is, Hill, on his 500px page, assures us it’s real:
“In the past at least one viewer has questioned the authenticity of the shot, so listen up when I say it is a real photograph and has not been manipulated. If I could I would show you the shots taken immediately before and after to prove it beyond doubt. More recently the shot has been replicated by others, shooting from the same spot, without acknowledging their inspiration was not entirely original. That pisses me off somewhat.” – Peter Hill
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Encompassing Northern California, Oregon, and Washington, the Pacific Northwest is considered by many to be one of the most beautiful regions in the United States. Each state in the PNW contributes its own breathtaking natural landmarks, but Washington’s picturesque mountains and volcanoes easily command the attention of travelers.
California-based graphic designer and photographer Bryan Buchanan took this photo of one of Washington’s most well-loved peaks—Mount Rainier—from Mount Rainier National Park’s Tipsoo Lake viewpoint at around 10 p.m. on October 25, 2015:
mount rainier mountain washington 14er pacific northwest fourteener 14,000 feet olympic national park
“Mount Rainier Under The Moonlight” by Bryan Buchanan (Via Flickr. Click image to see full size.)
As Washington’s tallest peak, Mount Rainier, stands an impressive 14,417 feet, towering over its namesake city and surrounding coniferous forests and mountain valleys, with Seattle nearby to the northwest.
Buchanan created the photograph as a single frame long exposure. He mounted his Sony Alpha a7II ILCE7M2 and Sony 55mm f/1.8 Sonnar T* FE ZA lens onto a tripod and adjusted his settings to capture a 15 second exposure at f/1.8 and ISO 3200. He used a shutter release cable to minimize camera shake.
He revealed to a Flickr user that his post-processing methods included flattening the image by lowering contrast, brightening shadows, darkening highlights, adjusting the curves to restore contrast and detail, tweaking luminosity for greater rock and tree detail, and boosting the clarity and de-haze tools to emphasize the stars.
“Everything in the photo is pretty far away, even the trees closest to the camera were probably 200 feet [away], so I didn’t have to worry about focusing on anything too close up,” he wrote to a Reddit user. “The ice on the mountain was pretty bright, so I was able to use auto-focus at night to just focus on that… [and] I think the noise kind of hides some of the softness.”
Also on Reddit, Buchanan spoke positively about his experiences shooting with the new mirrorless Sony Alpha a7II:
“The focusing seems a bit slow for action, but I feel like it’s great for landscapes because it’s nice and small for traveling and has great dynamic range,” he said. “It almost feels like a cheater camera after coming from a Canon 3D because it’s so forgiving.”
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 Sometimes, the most fortuitous shots come from the most annoying trips. Take Elia Locardi‘s example from Greece a few years back; the travel photographer waited for hours in a foggy Meteora, a sacred site in Greek Orthodoxy, to snap a photo of the famous sandstone pillars and gorgeous natural scenery. But the fog wouldn’t quit, even after Locardi hailed a cab and paid an exorbitant amount to get halfway up a mountain. But, as luck would have it, the clouds broke, and he managed to capture this shot:
valley of fog
“The Valley of Fog” by Elia Locardi (Via Imgur. Click image to see full size.)
Locardi describes the whole ordeal on his blog, and ends on a note worthy of the photo itself:
“The giant fog monster was retreating down the mountain, leaving a path of wet winding mist, and what I can only describe as the most beautiful weather event that I’ve ever seen.”
According to 500px, he captured the moment with a Nikon D3 and a 24mm lens set at ƒ/9, a 1/640 second exposure, and ISO 250. But Locardi, who’s known for stunning HDR landscapes, likely composed the image out of several shots.
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Wildlife photographer and filmmaker Kim Wolhuter had been filming a mother cheetah and her four cubs in Mashatu Game Reserve in Botswana for six weeks before this incredible picture was taken. Wolhuter, it seems, had built up such trust with the cheetah family that the young female decided to come in for a closer look of the photographer, a little inspection… and a little lick of his toe:
cheetah licks foot photo
Cheetah licks photographer’s toe by Kim Wolhuter (Via Imgur. Click image to see full size.)
On this particular day, Wolhuter had been following the cheetah family after a morning kill. Since their bellies were full, the big cats decided to have a little rest, and Wolhuter himself took a little break under the shade of a small Shepherds tree about seven or eight meters away. As he writes on his Facebook page,
“How they’ve come to accept me like this is insane. It is just what it is and I can only treasure the pure privilege.”
Surrounded by giraffe, the photographer and cheetahs dozed in the heat. Between napping, Wolhuter snapped some shots of the family and at one point one of them got a bit curious.
“The sun was peeping through a gap in the clouds on the horizon when the young female cheetah got curious. She came to me, bent down and gently nibbled my toe! I slowly pulled it away not knowing how long the gentle would last. She wasn’t too [fazed] and went back to her siblings as if proving to them she’d pulled off the ‘dare.’ Such a privilege!”
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 Check out this enchanting image taken by photographer Ann-Marie Westwood at the Finnich Glen, also known as The Devil’s Pulpit, located just outside of Glasgow in Scotland:
finnich-glen-cavern
Finnich Glen
The image was taken using a Nikon D200. To capture the entire scene, Westwood used a wide 32mm focal length while shooting at an ISO of 100 and small aperture of f/22. The soft water effect is done using a long exposure technique, in this case a full 30 seconds, which captures the movement of the water and gives a milky look.
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Selfies are all the rage nowadays, and selfie sticks are probably the most popular type of stick sold right now. Humans aren’t the only ones who love taking selfies. The popular scandal involving a monkey who took a photo of himself, and the subsequent copyright issue proves it. Now, it seems like the selfie craze has reached the Internet’s most popular animal—cats:
cat selfie
(Via Imgur. Click image to see full size.)
Apparently, this cat loves to take selfies, as the author’s Instagram page shows. He, and some of his canine friends, know how to have some fun with the owner’s GoPro. camera.
So, after having their own selfies and Instagram accounts, I wonder what’s next for our furry friends. Will they start ordering their own food off of Amazon?

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Kilauea is a massive shield volcano on the Big Island of Hawaii. As anyone who’s visited can tell you, it’s a frightening, awesome, captivating experience; you can walk on cracks with glowing orange lava deep beneath and feel the heat pulsating from the center of the earth. In this photo, Hawaiian photographer Tom Kualii captures beautifully the meeting of lava and ocean:
A long exposure smooths out the water and lava while keeping the sun bright behind. (Via 500px. Click for larger image.)
The shot, called “Still Flowing After Sunset”, is typical of Kualii’s majestic style. It almost resembles a watercolor painting, but the starkness of the dangerous subject matter distinctly clashes with the serenity of the background. Well composed, well thought out—and it really makes you want to visit Hawaii for something other than just beaches and sun.
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Taking a great looking 10-minute exposure is a challenge at the best of times. But, in the daytime, it can be an especially finicky process. Photographer Stanley Klasz has taken many long exposures and has found 10 minutes to be the magic number for the look and feel he’s going for. This particular shot by Klasz, taken at Hamilton’s Fifty Point Conservation Area on Lake Ontario, is a 10-minute exposure at sunrise, resulting in a smooth, warm, and peaceful image:
sunrise long exposure photo
Duality by Stan Klasz (Via Imgur. Click image to see full size.)

  • Canon EOS 5D Mark II
  • Canon 24mm TS-EII
  • Focal Length 24.0 mm
  • Shutter Speed 608.0 sec
  • Aperture f/8
  • ISO 100
Although he used a tilt-shift lens, neither position was applied. Klasz used Formatt-Hitech filters – 16 Stop NDCircular Polarizer and a Reverse Graduated filter, which he prefers because of the lack of color cast when shooting longer exposures. He used a Promote Control remote shutter.
“I’ve done a number of 10 minute exposures, I don’t know why I arrived at that particular number but for the feel of the image I’m trying to make it works for me. I approach a shot like this very carefully. It takes a lot of prep before the shot is taken, you have to double check everything. Focus, exposure settings, composition. 10 minutes is a long time to waste for one shot when the conditions are right. I’ve been to this location many many times, so I always have an idea of what I want to shoot before I get there. I do make judgement calls on everything on site, because there are so many variables that come into play with mother nature. And I’ll always do a multitude of different shots to keep all the bases covered.”

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Not only interesting photos, but interesting to see some great photos and how they were created.  Special thanks to the photographers and to PictureCorrect for supplying these great photos.

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For direct communication, contact me at:  123photogo@gmail.com