People to Watch

Like most of you, I have a handful of websites I look at regularly. Here's a few that I've been watching recently, in addition to the usual litany.

Zack Arias (who I propped here);

Joe McNally (enough said); and

a new local acquaintance, Bob Shull.

Rocks at Tanyard

This is the front of the rocks in the foreground of the picture in the More Tanyard post.

EXIF:

Sigma 10-20 at 18mm
f/5.6
1/25th sec
-.7 EV


I'm about over the cloudy white balance + negative EV setting that I've been using to compensate for the way the D80 meters. I'm always adding it back in when I do the RAW conversion. What's the point? I've gotten to where I just use center-weighted metering, particularly in manual mode.

Chicago Skyline

The obligatory skyline shot from our recent trip to Chicago. Click on the image for larger view.




I really wanted to get down here with a tripod and do a bona fide 5 or 6 frame panoramic. I didn't even put the head on my tripod the entire time we were there. I guess I lucked out on the clouds--the rain was just moving in from the west so I had some good clouds to mess with. We had a few minutes before our bus was set to leave, so I just capped off my 18-135mm walk-around lens with a circular polarizer and headed down to the water.

More Tanyard

I've been wanting to do a black and white study of the rock at the top of the waterfall at the Tanyard Creek nature trail. I took several different shots with a couple of different lenses, but I could never really get comfortable with a composition. (Oh yeah. That "stop sign" at the overlook station at the top of the trail? Ignore that. I do.) The rocks are really pretty cool, and it's one of the few times when you'd like a little more daylight to promote some natural contrast. But the sun was just coming up and the fog beginning to lift, so there wasn't really enough contrast.

So I piddlied a little bit and then took this shot, looking down at the rocks. I don't shoot enough shots with my Sigma 10-20mm lens--it's a fantastic piece of glass. This shot is at 10mm (15mm on a full-frame camera), and that's freaky wide; I kept having to move my feet out of the bottom of the shot. I love the exposure on this shot--other than a levels adjustment layer, there's nothing else done to this shot. I may need to punch up the rocks a little just to make them pop a little bit. If you've been out there, you know there's a pretty good elevation change from the foreground to the background that's not really conveyed in the photograph.

But Julie likes it. That's gotta count for something.



EXIF is a little goofy. Out of the camera, it's ISO 400, f11 for 1/20th of a second, and -2/3 EV. A lot of times I'll set the white balance for cloudy and then dial in -0.3 to -.07 exposure compensation to make up for my camera's meter, which tends to try to save the highlights. I shot this in RAW and then added back in about 1/3 of a stop of the the exposure compensation back in. So, there's a little negative EV in here, but not much. I think it helps keep the fog in play.

Tanyard Creek Waterfall in the fog

Saturday morning was foggy. I woke up early, and thought about heading over to the White River. After getting to Lee Town Road in Pea Ridge and realizing I would lose the light before I got there, I turned around and took a leisurely drive back through Price Coffee and Ford Springs Roads, and went to the Tanyard Creek nature trail. I ignore the signs and actually get out into the falls. There was a fair amount of fog shifting around, and I took a lot of shots, experimenting with differing ISO settings and shutter speed settings. I used what Bryan Peterson would call a "who cares" aperture of f11, and ultimately settled on this version. Too slow of a shutter speed tended to lose the detail in the foreground water; too fast tended to lose the silky effect. One thing to note is that your shutter speed will vary the effect across the depth of field. In other words, a slow shutter speed will blur foreground motion more than something further back in the frame, at least with running water.

I don't have a good neutral density filter. But I do have a good circular polarizer, so I popped that baby on and used it to help me extend the shutter speed without burning out the exposure. It was pretty dark, though, and I probably could have done without it. Get out and shoot.

EXIF info: Nikon D80 + 18-135 @80mm, ISO 100, f11, .40 sec

UPDATE: Here's a second
picture from the same shoot:












EXIF data: Same camera and lens, at 75mm, f11 for 1 second.


The first shot is converted to black and white using channel mixer. The second was converted using a gradient map adjustment layer over a levels adjustment layer, and then adjusting the individual red, blue and green historgrams in the levels layer. If you don't have the full version of Photoshop or don't have a channel mixer plug-in, this second method is a great way to exercise a lot of control over black and white conversions.

The Hollywood Park Shoot

A few of you have asked me about Hollywood Park. Honestly, I think there's more to it than where I shot, but here is a shot of the 3 turrets I referred to in the Zoom Zoom post. I dodged and burned a little, and a little too much at that. One of these days I'll get better at that, but for this particular post it's not that important. This was shot with a Sigma 10-20 super wide angle lens. Oh yeah--if your subject is a turret, and it has a pointy top to it, don't cut off the top of it. This is the only one of the pictures of the 3 structures together that I kept, so I'll have to go back and do it again.

I mentioned that the Zoom Zoom picture was one of several. See the little windows in the turrets? There are little faces in there. I shot 3--here's a triptych.


The middle face is in the Zoom Zoom post. I think my dodging and burning is much better on these, but that may change--I haven't sharpened these yet. Converted to black and white using channel mixer. And actually, I'm going to crop #1 and #3 much closer to resemble the middle picture. I smell 16x20 on foamboard.

Zoom, Zoom

After seeing a picture in the Capture Arkansas project, I made a venture to Hollywood Park in Hot Springs. It's about halfway between Oaklawn and Hot Springs Country Club, in what seems to be a bit of a shady part of town. There are three odd turret-like structures made out of natural stone (I'll post a picture later); two of them have little "windows" in them, and in those windows are these little bas relief faces. Odd faces. Spooky little faces.

Anyway, I decided to try a zoom lens trick where you open the shutter and then zoom the lens before the shutter closes. I took over 30 shots, alternating between starting wide and zooming in, starting close in and zooming out, switching lenses, changing exposures, etc. I started with my super-ultra-wide Sigma 10-20 and learned that you don't get much action over 10mm, so I switched to my 18-135 and found that this worked better. Apparently, telephoto to wide is the way to go, although I'm not sure that's what I actually did on this shot. I was aiming to get something supernatural. I think I got close. I've got a few more that I'll post in an update later this week.

EXIF Data: D80 at ISO 100, f/16 for .60 sec., focal length variable.