Posts Tagged Canon 100-400
Stormy layers
Posted by Doug Otto in Photography on June 3, 2010
Not much in the way of witty banter today, just a pretty shot. This image was take from the same location as the image in my “I am and island” post. There was a total of 4 minutes between the shots so not much changed. It does underscore just how many compositional opportunities exist in this often photographed location.
Cheers
I am an island
Posted by Doug Otto in Photography on April 28, 2010
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If you’ve ever photographed at Tunnel View in Yosemite you might recognize this tree. Precariously perched on the talus slope of El Captain, it often stands out as a striking feature. In late afternoon it drops to silhouette in contrast to the golden last light of the day on the granite face. Yesterday afternoon, while shooting with the latest workshop group, I watched intently as it drifted in and out of obscurity as clouds formed in the valley.
In an attempt at full disclosure, I need to tell you about a genetic condition that I have. My family refers to as “wrong line gene.” In layman’s terms, it simply refers to the tendency for any line or place, that I’m standing, to instantly be transferred into the wrong line or place. It’s an affliction that I’ve lived with some time and my family has adjusted. When we travel my wife and son always choose a different TSA line at the airport. I often use it to my advantage when photographing with a group. I can make objects and scene components appear and disappear almost at will; just by walking to or from my camera. I’m a giver. It’s what I do.
For 20 or 30 minutes I thought for sure that my genetic condition would prevent me from getting this shot. All of a sudden, the tree emerged from what appeared to be a sea of mist. Already waiting with my 100-400mm lens at 400mm, I adjusted my exposure by metering on brightest portion of the cloud and adjusting my shutter speed to +1 stop above neutral. I gave my polarizer a quick twist and only managed to fire off a handful of shots before having a relapse; the tree disappeared.
Cheers
Moonrise over Bridal Veil Fall
Posted by Doug Otto in Photography on April 22, 2010
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Even when a workshop isn’t involved, the position and timing of the moon influences my planning a Yosemite visit. Visually it’s very a strong element, but it can also be a primary light source for night shooting. Having it in the sky, and knowing where it’ll be, can help make the most out of a photo trip.
Recently, on a photography forum that I frequent, there have been a bunch of heated discussions over the placement of the moon within a scene. For the sake of this article I’ll refer to the moon, but really it could be just about any component of the scene. One camp strongly insists that pasting in, enlarging or moving the moon to suit the image is merely artistic license. The other side feels, just as strongly, that it’s neither creative nor artistic to artificially introduce objects into a scene. You probably have already guessed where I stand, especially when it’s done without disclosure. The later being the most serious as it damages the creditability of the entire photographic community.
To me, the most interesting aspect of the discussion is motivation. I photograph, primarily, to please myself. If the photograph also pleases someone else that’s great but that thought never enters my mind while I’m creating it. It’s quite satisfying to have done the research, put yourself in the right spot and capture the image “in the wild.” I could have created this image any day of the year by pasting a moon into it from the comfort of my home office; but I didn’t. It’s a single exposure, made with a Singh-Ray graduated split neutral density filter.
Ansel Adams was a master of the darkroom. Even though he spent days producing a single print I can’t imagine anyone walking up to him, at an exhibit, and saying: “You didn’t develop that did you?” It’s clear that the credibility of digital has already taken a hit. While an amazing piece of software, it’s my fear that things like “content aware fill” in the new Photoshop CS5 will just further that divide. Only time will tell.
Cheers
Persistence
Posted by Doug Otto in Photography on April 1, 2010
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Sometimes a scene jumps out at you, sometimes you have to go looking for it. The best photographs come from things that evoke an emotional response. This tree, with it’s sprawling roots clinging to life, has been a subject of mine for over a year now. It lives near the trail below Bridal veil fall in Yosemite. There is a character to it that I’m not even able to describe but every time I walk past I have to stop and look. I’ve shot this tree from nearly every angle imaginable, and in every season.
The subconscious mind plays a tremendous role in our photography if we allow it. People take pictures because they’re drawn to a scene. The problem is finding exactly what about the scene is pulling you in. How many times do you visualize a scene and take a shot only to be disappointed by the final result? In all likelihood, what originally grabbed your attention is in your picture; it just needs to be refined. Too often budding photographers give up on a location too soon.
I’ve known, for the last year, that there was a picture in this stream-side scene. I’m not certain this is it, but it’ll hold me over until the next trip when I can continue the search. I can’t wait.
Cheers
Depth
Posted by Doug Otto in Photography on March 22, 2010
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Just last week I stumbled on a thread, on a photography forum, where the poster was asking which aperture he needed to use to shoot “landscapes.” It’s also a question that gets asked frequently during workshops. The answer, of course, is “whatever is appropriate for the scene and your artistic vision.” Usually drawing a blank stare, the answer really is as simple as it sounds.
Had I listened to the forum membership pontificating about f/16 or the importance of keeping the entire scene sharp, this would have been a boring image. The scene compression, from my 400mm focal length, and the very selective depth of field weren’t mistakes. Those choices were as deliberate as where I positioned myself to control the spacing between the poppies. Knowing what happens when you choose each possible camera setting is an important part of learning to express your vision. Using the knowledge to your advantage is how you create artistic images.
Cheers
On frozen pond
Posted by Doug Otto in Photography on March 2, 2010
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Couldn’t you just do that in Photoshop? During the last workshop that was the running theme. The conversations varied from whether it was appropriate to add a moon to a scene to “I don’t use filters because I can do everything in Photoshop.” I suppose that’s correct to a certain degree but there’s one filter that Photoshop will never remove from my bag; the polarizer. Adding the moon? I won’t go there.
I’m often surprised to see folks, shooting landscape images, who either eschew or ignore something I consider to be essential. Regardless of your skill, a properly adjusted polarizing filter has no Photoshop analog. Oddly enough those same folks who would never think of using a polarizer often insist on having a, useless, UV filter on their lens at all times. I like to consider the end result when considering any filter or technique; if it’s not making a positive change I won’t bother. In the case of the UV filter, they increase lens flare and cheaper ones actually degrade overall image quality. I believe people come to use them largely because of camera store fear-mongering. If you drop the lens off of a truck, that UV filter isn’t going to save it. Concerned about your front lens element? Use your lens cap.
This shot wouldn’t have been possible without a polarizer. Most people just think about their effect on blue skies, not what really makes them tick: reflections. The ability to increase or negate the impact of reflected light can make or break an image. In the case of foliage, removing surface reflections makes colors really pop; no saturation slider required. In the case of this image, I was able to completely remove the reflection from the surface of this ice. Without the filter, the leaf was completely obscured. Because the polarizer is adjustable, I was able to bring back just enough reflected light to let you see the texture on the ice while letting the leaf shine through.
Got a polarizer collecting dust in your bag? If the answer is yes, throw away that UV filter and start using the polarizer. Don’t be content to just screw it on your lens, check and adjust it on every shot. You’ll be glad you took the time.
Cheers
Nature’s Monochrome
Posted by Doug Otto in Photography on February 25, 2010
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Some photographers choose to shoot in color, some in black and white. Occasionally, nature makes the decision for you. Often, I write about the differences between our own vision and that of the camera. Effective photographers exploit those differences rather than bemoan them.
On my most recent trip to the valley, Mother Nature really kept things mixed up. I can’t even count the number of times the conditions swung from rain to snow, from snow to clearing and from sunny back to rain. The constantly changing conditions made for a physically demanding 4 days. The swiftness of those changes required that we push the workshop group pretty hard. I’m not ashamed to admit I was a bit gassed after 4 days of nearly non-stop nature photography. I’m always a bit melancholy at the end of a workshop, but this time the feeling was accompanied by a slight sense of relief.
I made this image near Swinging Bridge in Yosemite last Monday morning. While the group was soaking up the classic reflection scene of Yosemite Falls and the Merced River, I was looking for other compositions. Honestly is wasn’t that hard. When covered in snow, just about the entire park is photogenic.
To isolate this scene I used my Canon 100-400 on my 7D body. The sky was still very cloudy from an overnight storm giving a “soft box” effect to the whole park. The resulting light effectively removed any trace of color from this winter scene. To my eye, the color was perceptible. In the camera the subdued lighting and the compressed tones were rendered as nearly colorless. In a genre of photography where the saturation adjustment slider, in Photoshop, is notoriously abused I’m okay with that.
Cheers
Horsetail fall
Posted by Doug Otto in Photography on January 28, 2010
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Often the journey is more important than the destination. Nothing underscores more for me thanHorsetail fall (Yosemite).
First made famous by the late Galen Rowell, Horsetail fall is a tiny water fall that can sometimes be seen on the side of El Capitan. What really makes it special is the treatment it gets, at sunset, during just a couple times each year. Fed by only a 30 acre watershed it often doesn’t flow at all, but when weather conditions are right it puts on an amazing show. Best viewed backlit, the fall appears as a river of fire down the side of the granite face.
Because of the special conditions, and timing required, Horsetail can be very elusive to photograph. While technically possible in the fall, due to the angle of the sun, Horsetail fall is traditionally photographed in middle to late February. Huge crowds of photographer arrive, each year, all trying to get the classic shot. Ironically, my best memories of Horsetail are of standing in the snow, shoulder to shoulder with some other photographers joking and laughing as we clicked away at the display. The photography was completely secondary. Even after “getting the shot” several times I still go back each year just for the experience.
This particular image was taken in late January from a less traditional location. Still early in the season for the full display, I liked it because of its different perspective. I took this shot with my Canon 100-400 from the edge of Southside drive, not far from Sentinel Beach.
Cheers
Just a leaf
Posted by Doug Otto in Photography on January 14, 2010
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If you’re a regular reader of this blog you know I often eschew the grand vista in favor of a more intimate view of the world. Such was the case with this image from my last Yosemite trip.
Along Southside drive in Yosemite, there is an unmarked parking area with two large trees protruding from the asphalt. Not far from Cathedral beach, it’s about the only location where you can see El Capitan from end to end. (Capturing that view requires a pretty wide lens) Since El Capitan gets its first light roughly 30 minutes after sunrise this location is a great place to head after you finish shooting sunrise.
On this particular morning I’d stopped, waited for the light and decided that breakfast was calling. The only clouds in the sky were jet trails and the light just wasn’t very interesting. On my trek back to the car I walked past this leaf. The frozen texture was what initially caught my eye but the angles of the branches is what really tied it together. With nothing but snow in the background it was a perfect setup for a high key approach.
The exposure was very simple. With the aperture set to f/11 I dialed down my shutter speed until my meter read +3 and took the shot. Overexposing the snow caused the entire background to go white, removing any distracting elements.
Cheers
Happy 2010
Posted by Doug Otto in Photography on January 5, 2010
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To steal a quote, stumbled upon while browsing the net, “Life is like a roll of toilet paper. The closer you are to the end, the faster it goes.” After how fast 2009 seemed to blaze by, I think it’s appropriate. I hope the New Year finds you and your loved ones well.
It’s a challenge to go to a place as widely photographed as Yosemite and come back with fresh images. The challenge isn’t the availability of the subjects as much as learning to see them. Once seen, the next step is figuring out how to make it into an image.
On New Year’s day morning, I did what I often do when presented with overcast skies, I went to Bridal Veil fall. Bridal Veil is one of the few waterfalls in Yosemite that flows all year. While the water fall is a beautiful sight, most of the photographic opportunities are in the three streams flowing out from its base. Often requiring scrambling over rocks, you can be completely alone while the tourists stream up the path to the viewing area at base of the fall.
What caught my eye here was the foam on the top of the water. Directly above my location was a small cascade that was creating these bubbles on the surface of the water. Caught on a long exposure, I knew they would imply motion. The trick was finding something else to put in the frame. I walked around the area, doing my best to keep from falling in, looking through my camera to find a scene. (When shooting in the area, my Canon 100-400 is my most useful tool. Using a long lens helps compress perspective and lets you “carve” out scenes and make them stand alone.) After finding this leaf, I knew I had my shot. While seemingly simple enough it took 10 frames, at varying exposures, to get this pleasing pattern. I settled on f/16 and 3.2 seconds.
Finding a scene like this is far more satisfying than creating it. While I didn’t place this leave, in the spirit of full disclosure, I did wash away some foam stuck to the near side of the rock. I almost never place a subject but I have no issue with removing a distraction. While something that could easily have been taken care of during processing I prefer to do it in the field.
Cheers
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