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Little boy loves the moon...watches for it every night. Yesterday he found it round and orange, and if I don't miss my guess next to Venus. I watched it with him for a while before realizing that I needed to get dressed, run to the office to put together a camera bag and tripod*, and hike out to the cliff.
This is a 30sec exposure which allowed the surf to glow against the rocks. I intentionally packed an older wide angle zoom lens [the oft mentioned ca. 1995 Canon 20-35mm f2.8L], which was not the most optically perfect choice. I did this because it was a stop faster than the other obvious choices** and also perhaps just to be contrary, as Canon has all but denied paternity of the lens....there is barely a mention of the lens in company literature, absolutely no support, and no available profiles in Lightroom. 'My little bastard', I call him. ;)
I played around with ISO and aperture a bit during the brief shoot. This one was taken at f5.6 which produced the nice diffraction star around the moon. The ISO was 800 which is most decidedly not the strong suit of my 5DS which shines at 100. There's just a bit of noise, but it could probably be tamed down a bit more.
I won't deny for a moment that I approach photography from a technical and equipment-centric point of view. I used to own a film lab and camera stores...without this 'focus' [hahaha] I wouldn't have gone where I did.
This is just one of the ways that I differ greatly from my neighbor John Paul Caponigro. In his talk here it's directly pointed out in case you missed it that you won't hear any discussion of camera brands or f-stops from him, and instead will receive a very well thought out, even cerebral, discussion of art and intention.
My approach is very much rooted in 'pre-visualization' a lá Minor White all the way back from the lens to the sensor/film and post-production/developer and on to the print.. What can I say. Gear matters to me, from winches on a sailboat to the Michelin snows I run year-round on the SUV here in the woods. Cause and effect. Form follows function. It's a mind-set...one that I enjoy.
Your mileage may vary. Buckle up.
* With fond memories of friend Chris Warman...his old Gitzo and R.No.1 head are my go-to for these excursions.
** From my slim collection those would be the Canon 16-35mm f4L which would have been better optically and will go along next time, and the Voigtlander 20mm f3.5II which I sold during a purge thinking I'd someday buy a 24mm f1.4, but didn't. ;)
This is a 30sec exposure which allowed the surf to glow against the rocks. I intentionally packed an older wide angle zoom lens [the oft mentioned ca. 1995 Canon 20-35mm f2.8L], which was not the most optically perfect choice. I did this because it was a stop faster than the other obvious choices** and also perhaps just to be contrary, as Canon has all but denied paternity of the lens....there is barely a mention of the lens in company literature, absolutely no support, and no available profiles in Lightroom. 'My little bastard', I call him. ;)
I played around with ISO and aperture a bit during the brief shoot. This one was taken at f5.6 which produced the nice diffraction star around the moon. The ISO was 800 which is most decidedly not the strong suit of my 5DS which shines at 100. There's just a bit of noise, but it could probably be tamed down a bit more.
I won't deny for a moment that I approach photography from a technical and equipment-centric point of view. I used to own a film lab and camera stores...without this 'focus' [hahaha] I wouldn't have gone where I did.
This is just one of the ways that I differ greatly from my neighbor John Paul Caponigro. In his talk here it's directly pointed out in case you missed it that you won't hear any discussion of camera brands or f-stops from him, and instead will receive a very well thought out, even cerebral, discussion of art and intention.
My approach is very much rooted in 'pre-visualization' a lá Minor White all the way back from the lens to the sensor/film and post-production/developer and on to the print.. What can I say. Gear matters to me, from winches on a sailboat to the Michelin snows I run year-round on the SUV here in the woods. Cause and effect. Form follows function. It's a mind-set...one that I enjoy.
Your mileage may vary. Buckle up.
* With fond memories of friend Chris Warman...his old Gitzo and R.No.1 head are my go-to for these excursions.
** From my slim collection those would be the Canon 16-35mm f4L which would have been better optically and will go along next time, and the Voigtlander 20mm f3.5II which I sold during a purge thinking I'd someday buy a 24mm f1.4, but didn't. ;)
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Oddly enough I enjoy driving around the rural parts of Maine...and keep in mind that most of of the state qualifies.
There is just something so real and honest about both the landscape and the people. Don't get me wrong...it can be bleak in a way that a lot of areas are these days...but it's familiar.
Traveled to the western woods with my father-in-law the other day to look at a mower. Pretty memorable experience.
And, as you can see, camo was the uniform of the day.
Glad I had the Leica along for the ride.
There is just something so real and honest about both the landscape and the people. Don't get me wrong...it can be bleak in a way that a lot of areas are these days...but it's familiar.
Traveled to the western woods with my father-in-law the other day to look at a mower. Pretty memorable experience.
And, as you can see, camo was the uniform of the day.
Glad I had the Leica along for the ride.
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Mornings here on the coast have often been foggy...leading to interesting formations over the water come mid-day.
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I have submitted images to professional contests over the years, but not often.
The first time was Communications Arts magazine I believe, and my shot was accepted to the annual...not as a winner or even an honorable mention...just in the third 'accepted' category. But I was published, very cool for a kid fresh out of photo school. I even stuck the original 8x10 b/w print in the back of the copy I bought. Wish that book had survived the moves.
I did not submit again for a long time while running a business and then transitioning away from film, but picked it back up recently. My next submission to a Photographers Forum annual last year was accepted and published in the same manner. Again an 'also ran' but given the huge number of submissions not an insignificant accomplishment.
I just received a letter of notification that the image above won something in this year's contest. They don't tell you whether you've won, placed, or shown...although I assume winner's receive a more flowery notification...but in any event it sure is nice to see your work acknowledged on any national stage.
I'll let you know when I hear of how well we placed. :)
The first time was Communications Arts magazine I believe, and my shot was accepted to the annual...not as a winner or even an honorable mention...just in the third 'accepted' category. But I was published, very cool for a kid fresh out of photo school. I even stuck the original 8x10 b/w print in the back of the copy I bought. Wish that book had survived the moves.
I did not submit again for a long time while running a business and then transitioning away from film, but picked it back up recently. My next submission to a Photographers Forum annual last year was accepted and published in the same manner. Again an 'also ran' but given the huge number of submissions not an insignificant accomplishment.
I just received a letter of notification that the image above won something in this year's contest. They don't tell you whether you've won, placed, or shown...although I assume winner's receive a more flowery notification...but in any event it sure is nice to see your work acknowledged on any national stage.
I'll let you know when I hear of how well we placed. :)
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