Nope. Maybe some slight tweaking of levels or something and editing out some dust spots.
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Picture of the Day (November 2007)
- Thread starter arn
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Nope. Maybe some slight tweaking of levels or something and editing out some dust spots.
Thursday night practice at Petit Le Mans 2007
American Le Mans Series (ALMS)
Road Atlanta, Braselton GA
4 October 2007
D200 with AF-S 70-200/2.8 VR, SB-800 flash
1/60 sec at f/2.8, ISO 1100, 110mm
no post processing applied
American Le Mans Series (ALMS)
Road Atlanta, Braselton GA
4 October 2007
D200 with AF-S 70-200/2.8 VR, SB-800 flash
1/60 sec at f/2.8, ISO 1100, 110mm
no post processing applied
Conowingo Dam, Darlington, MD
November 25, 2007
Nikon D300
Nikon 300mm f/2.8 lens with 1.7x TC
f/10 @ 1/1250 sec
ISO: 640
Here is mine. Taken in Dubai./QUOTE]
Dubai has to be the best place on earth
That would be cool if you got a shot of the Burj Al Arab
yeah Dubai was sweet but its really expensive. Ill be putting some pics up on flickr and I did get some pics of Burj Al Arab.
Details? Well, this is a local beauty spot overlooking Windermere (England's longest lake... though visiting Americans often assume it's a river...). I used to rush around with my camera, trying to shoot as many different photos while the light was right. Now I try to do the opposite and - for this kind of shot, at least - try to slow down. So I have a camera shoulder-bag loaded up with D200, two lenses, a cable release and a lightweight tripod.
For this shot, taken a couple of weeks ago, I put the camera on the tripod... and wait around. I sit and gaze at the landscape, and watch what happens as the light changes. I take a few shots. I have a sandwich and watch the light some more. I chat with people who have walked to this spot and are enjoying the landscape too. I take a few more shots.
I don't like unclouded skies; they make for bland, blue, scattered light. So I go out on a lot of cloudy, 'changeable' days. With this shot, the sky and land are kinda 'balanced', so there's no need for grad filters or post-production tweaking (beyond what is normal when I import RAW images into Aperture).
The sun is getting lower, and the colours more saturated. The sailboat makes slow progress (hardly a breath of wind). I'm chatting with a couple of people about photography, but I say "excuse me for a moment", press the shutter and that's that.
By 'details', I guess you wanted a list of numbers. But that's not how I take pictures. By looking hard at the landscape, the camera almost disappears. This kind of 'photography as meditation' stuff probably sounds a bit pretentious, but it works for me. I become calm, so the pictures are calm. I guess I'd need a very different approach for street photography, or sports, but for landscapes the 'slowing down' and 'waiting around' seem to work for me.
For this shot, taken a couple of weeks ago, I put the camera on the tripod... and wait around. I sit and gaze at the landscape, and watch what happens as the light changes. I take a few shots. I have a sandwich and watch the light some more. I chat with people who have walked to this spot and are enjoying the landscape too. I take a few more shots.
I don't like unclouded skies; they make for bland, blue, scattered light. So I go out on a lot of cloudy, 'changeable' days. With this shot, the sky and land are kinda 'balanced', so there's no need for grad filters or post-production tweaking (beyond what is normal when I import RAW images into Aperture).
The sun is getting lower, and the colours more saturated. The sailboat makes slow progress (hardly a breath of wind). I'm chatting with a couple of people about photography, but I say "excuse me for a moment", press the shutter and that's that.
By 'details', I guess you wanted a list of numbers. But that's not how I take pictures. By looking hard at the landscape, the camera almost disappears. This kind of 'photography as meditation' stuff probably sounds a bit pretentious, but it works for me. I become calm, so the pictures are calm. I guess I'd need a very different approach for street photography, or sports, but for landscapes the 'slowing down' and 'waiting around' seem to work for me.
Attachments
Details? Well, this is a local beauty spot overlooking Windermere (England's longest lake... though visiting Americans often assume it's a river...). I used to rush around with my camera, trying to shoot as many different photos while the light was right. Now I try to do the opposite and - for this kind of shot, at least - try to slow down. So I have a camera shoulder-bag loaded up with D200, two lenses, a cable release and a lightweight tripod.
For this shot, taken a couple of weeks ago, I put the camera on the tripod... and wait around. I sit and gaze at the landscape, and watch what happens as the light changes. I take a few shots. I have a sandwich and watch the light some more. I chat with people who have walked to this spot and are enjoying the landscape too. I take a few more shots.
I don't like unclouded skies; they make for bland, blue, scattered light. So I go out on a lot of cloudy, 'changeable' days. With this shot, the sky and land are kinda 'balanced', so there's no need for grad filters or post-production tweaking (beyond what is normal when I import RAW images into Aperture).
The sun is getting lower, and the colours more saturated. The sailboat makes slow progress (hardly a breath of wind). I'm chatting with a couple of people about photography, but I say "excuse me for a moment", press the shutter and that's that.
By 'details', I guess you wanted a list of numbers. But that's not how I take pictures. By looking hard at the landscape, the camera almost disappears. This kind of 'photography as meditation' stuff probably sounds a bit pretentious, but it works for me. I become calm, so the pictures are calm. I guess I'd need a very different approach for street photography, or sports, but for landscapes the 'slowing down' and 'waiting around' seem to work for me.
Sounds great. I like to go out and shoot, just as an activity. Go for a walk, a drive, what have you, and go on a shooting day. I find it relaxing as well.
Basically by details is I was wondering if there was any post production things done to it? It has so many wonderful colours in it.
The "wonderful colours" were already there, but they 'shone' for just a few minutes, while the lighting was low, oblique and coming out of a 'hole' in the cloud cover. So there was no need to do any post-production.
The choice, for me, is to spend a little more time out in the landscape... or to spend a similar amount of time in front of a computer. No contest!
Anyway, there's no software that can truly recreate the special qualities of light on the landscape.
By 'details', I guess you wanted a list of numbers. But that's not how I take pictures. By looking hard at the landscape, the camera almost disappears. This kind of 'photography as meditation' stuff probably sounds a bit pretentious, but it works for me. I become calm, so the pictures are calm. I guess I'd need a very different approach for street photography, or sports, but for landscapes the 'slowing down' and 'waiting around' seem to work for me.
The "wonderful colours" were already there, but they 'shone' for just a few minutes, while the lighting was low, oblique and coming out of a 'hole' in the cloud cover. So there was no need to do any post-production.
The choice, for me, is to spend a little more time out in the landscape... or to spend a similar amount of time in front of a computer. No contest!
Anyway, there's no software that can truly recreate the special qualities of light on the landscape.
Extremely well said. Some of the best landscape photographers I ever met will spend most of their time finding the location, and waiting for that "special" moment when the light is magical, and take one or two exposures - and nail it... Sometimes they can spend several days waiting. It's definitely something not everyone is patient enough to do, which is why the "great" landscapists are few and far between. Your work has that quality. Keep it up.
Thanks... Since the arrival of digital, I notice that people want some magic trick to take pix like the ones they see in books and magazines. A magic filter, magic software, some secret that only the pro photographers know... and, if that doesn't work (and it probably won't...
), maybe the new camera body, or lens, or whatever. Landscape photography is about light, and, well, that's it! If the camera manufacturers could sell it to us, they would. But they can't... so they don't...Details? Well, this is a local beauty spot overlooking Windermere (England's longest lake... though visiting Americans often assume it's a river...). I used to rush around with my camera, trying to shoot as many different photos while the light was right. Now I try to do the opposite and - for this kind of shot, at least - try to slow down. So I have a camera shoulder-bag loaded up with D200, two lenses, a cable release and a lightweight tripod.
For this shot, taken a couple of weeks ago, I put the camera on the tripod... and wait around. I sit and gaze at the landscape, and watch what happens as the light changes. I take a few shots. I have a sandwich and watch the light some more. I chat with people who have walked to this spot and are enjoying the landscape too. I take a few more shots.
I don't like unclouded skies; they make for bland, blue, scattered light. So I go out on a lot of cloudy, 'changeable' days. With this shot, the sky and land are kinda 'balanced', so there's no need for grad filters or post-production tweaking (beyond what is normal when I import RAW images into Aperture).
The sun is getting lower, and the colours more saturated. The sailboat makes slow progress (hardly a breath of wind). I'm chatting with a couple of people about photography, but I say "excuse me for a moment", press the shutter and that's that.
By 'details', I guess you wanted a list of numbers. But that's not how I take pictures. By looking hard at the landscape, the camera almost disappears. This kind of 'photography as meditation' stuff probably sounds a bit pretentious, but it works for me. I become calm, so the pictures are calm. I guess I'd need a very different approach for street photography, or sports, but for landscapes the 'slowing down' and 'waiting around' seem to work for me.
I went ahead and looked at the photos EXIF data for you
Exposure: 1/20
f/11
70mm Focal Length
Auto White Balance
I went ahead and looked at the photos EXIF data for you
Exposure: 1/20
f/11
70mm Focal Length
Auto White Balance
Is that good?
Thanks... Since the arrival of digital, I notice that people want some magic trick to take pix like the ones they see in books and magazines. A magic filter, magic software, some secret that only the pro photographers know... and, if that doesn't work (and it probably won't...
Well geeze. I didnt want some "magic trick" i was merely wondering if you edited it after wards. Personally I am not all that skilled with PS, so I prefer to have the best picture taken at the time as well.
Unfortunatly whenever I am on my way to work or somewhere and I dont have my camera, thats when I miss some beautiful shots.
Is that good?
why does it matter? the photograph is stunning, and that's all that matters in my book. I just thought some people would appreciate seeing the camera settings, especially those learning photography
Sorry, I'm not trying to be smart. I was just 'thinking out loud'...
In terms of useful information, I reckon that 'slow down' and 'be more attentive' may be more useful than f-whatever at some small portion of a second. And 'use a tripod' and 'walk further' and 'sit on a rock and wait'...
I went digital exactly a year ago. I didn't know if I'd be able to make that transition from film to digital. But... I've had more fun in the last 12 months than I had in the previous 12 years. And the learning process comes from comparing what's 'out there' with what ends up on my computer screen. For me, that's an emotional reponse... not numbers. But we all have different routes to getting the pictures we want.
I mean that pic of the eagle (Clix Pix) is just fantastic. Light on the head and body of the bird, underside of the wings in shadow. You couldn't pose it better. No distractions, just blue sky. 95% skill, 5% luck. Terrific...
In terms of useful information, I reckon that 'slow down' and 'be more attentive' may be more useful than f-whatever at some small portion of a second. And 'use a tripod' and 'walk further' and 'sit on a rock and wait'...
I went digital exactly a year ago. I didn't know if I'd be able to make that transition from film to digital. But... I've had more fun in the last 12 months than I had in the previous 12 years. And the learning process comes from comparing what's 'out there' with what ends up on my computer screen. For me, that's an emotional reponse... not numbers. But we all have different routes to getting the pictures we want.
I mean that pic of the eagle (Clix Pix) is just fantastic. Light on the head and body of the bird, underside of the wings in shadow. You couldn't pose it better. No distractions, just blue sky. 95% skill, 5% luck. Terrific...
Since Doylem's approach is more organic than technical, I find it provides a great opportunity for everyone, new and experienced, to think about how they approach their photographic goals. There are many different schools of thought, and many different photographic styles, each requiring its own set of tools, whether that be technical equipment or just the mindset of the photographer. I don't think Doylem is being coy by not discussing f-stops, etc. because that's the way he works on his own. He seeks the light, which is usually fleeting at best - ofen in the wee hours of the morning or afternoon. It just reminds me of how often I've seen in real life, the most amazing, breathtaking moments of light when low angled dazzling sun streaks into a muted world, and realized how often things like this happen, yet how seldom I'm in a position to even attempt a photograph of it. The zen of seeking the light is by its very nature, a slow, patient process, yet where one has to be ready - anticipating the moment -to spring into action almost instantly. There is something to be learned from someone like Doylem, and many others here, which has little to do with technical statistics. We may not choose to imitate, but we can learn, and become enriched by each other. Peace, and out.
brief glimpse...
Driving the road along the south rim of the Grand Canyon one spring, it was completely socked in with fog and clouds, making for a bit of disappointment for me and the young lady with me (my bride... ) as I told her I couldn't really explain the place without her seeing it for herself. Then, the clouds broke for just a minute or two. I was able to stop the car, scramble to the edge and fire off maybe 4-5 shots before it closed up again. And, it was freezing cold and windy. Shot on slide film (Fujichrome 100) and scanned.
Canon EOS 630
Canon 28-80 f/3.5-5.6 USM lens
Fujichrome 100
(No other exif info recorded)
Driving the road along the south rim of the Grand Canyon one spring, it was completely socked in with fog and clouds, making for a bit of disappointment for me and the young lady with me (my bride...
) as I told her I couldn't really explain the place without her seeing it for herself. Then, the clouds broke for just a minute or two. I was able to stop the car, scramble to the edge and fire off maybe 4-5 shots before it closed up again. And, it was freezing cold and windy. Shot on slide film (Fujichrome 100) and scanned.
Canon EOS 630
Canon 28-80 f/3.5-5.6 USM lens
Fujichrome 100
(No other exif info recorded)
Interesting all this discussion about the right light and waiting to catch the moment to give that great result.
My interest is primarily motorsports photography, so I have to go with where the action takes me, whether it's overly bright blazing sunlight that blows out whites, or night racing where you're lucky to get a focused shot with enough lighting from flash and ambient lights to have something usable.
But everyone once in a while you get lucky. I got this shot at Road Amercia in August. It was late afternoon and about 10 minutues before a rainstorm. The action, light, and focus all came together at once to give me one of my favorite racing shots. I even love how you can see Alan McNish (the driver) looking left to the apex of his next turn. I had this printed as a 16 x 24 and took it to the next race where the driving team signed and personalized the print for me.
Anyway patience and waiting doesn't count here. Just shoot, shoot, shoot, and hope for some great shots. I can easily take 4000 shots in 4 days of a race event, and throw away 3900+.
Taken with D200 and 18-200 VR (I've since sold the 18-200 and acquired a 70-200/2.8 VR)...
Audi R10 (LMP1), Alan McNish driving
ALMS Generac 500, Road America
Elkhart Lake, WI
11 August 2007
My interest is primarily motorsports photography, so I have to go with where the action takes me, whether it's overly bright blazing sunlight that blows out whites, or night racing where you're lucky to get a focused shot with enough lighting from flash and ambient lights to have something usable.
But everyone once in a while you get lucky. I got this shot at Road Amercia in August. It was late afternoon and about 10 minutues before a rainstorm. The action, light, and focus all came together at once to give me one of my favorite racing shots. I even love how you can see Alan McNish (the driver) looking left to the apex of his next turn. I had this printed as a 16 x 24 and took it to the next race where the driving team signed and personalized the print for me.
Anyway patience and waiting doesn't count here. Just shoot, shoot, shoot, and hope for some great shots. I can easily take 4000 shots in 4 days of a race event, and throw away 3900+.
Taken with D200 and 18-200 VR (I've since sold the 18-200 and acquired a 70-200/2.8 VR)...
Audi R10 (LMP1), Alan McNish driving
ALMS Generac 500, Road America
Elkhart Lake, WI
11 August 2007
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