Posts Tagged gold-n-blue
Eye of the Beholder
Posted by Doug Otto in Photography, Random Thoughts on June 29, 2009
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Photography, and art in general, is incredibly subjective. I recently entered an open show at the Sacramento Fine Arts Center. My single entry was accepted, but the juror for this show rejected more pieces than he accepted. One of my local peers had a photograph rejected that took first place in another show on the same weekend. It is impossible to cater to the likes and dislikes of everyone who sees your images. While there is no denying that it is a great feeling when someone expresses admiration for one of your pieces or, better still, purchases one but really it is important to please yourself first.
I shoot landscapes and nature because I enjoy it. Since I’m not on assignment, it lifts any pressure to please someone else. Being free to create images the way that you see fit empowers you to find your own vision. All of us, as photographers, are influenced by other’s work. It is the act of shaping those influences into your own creative expression that lets your images sing.
Taming the Gold-N-Blue
Posted by Doug Otto in Photography on December 12, 2008
As of today, I’ve had my Singh-Ray Gold-N-Blue polarizer for exactly a week. Several of this week’s posts were taken with my new toy. Because it is a polarizer, it’s difficult to recreate the effect in Photoshop (at least for someone with my post-processing skills). The first time you look through it, and give it a spin, you’ll notice that it’s wildly different than any other polarizer that you may have used. The first thing that you notice, after you download your images, is that nothing looks like it did in your viewfinder.
This filter has its roots in film. Before Photoshop was a standard component in the photographic workflow, filters were the primary tool to manipulate the color in your image. With film there was no notion of white balance (WB), although we still used it; we just called it something different. To compensate for each temperature of light we used a different type of film; tungsten being just one example. Really, we were setting WB in hardware. Today we set it in software.
I always leave my camera set to automatic WB, because I often adjust that setting manually. In this shot, the version on the right is what Adobe Lightroom shows me when I import the image. Getting the image to what I remembered seeing in the viewfinder required some radical adjustment.
Getting to the version on the left required moving the color temperature slider to, a very cool, 2850 and dropping the tint slider to -55. Those are adjustments that I’d never dream of making, in most cases, but they’re required to offset the reddish hue that his filter imparts. Your actual settings will vary depending on your light and conditions but don’t be afraid of big adjustments. It’s probably possible to set a custom white balance, in camera, to get you to a closer starting point but you’ll still likely want to adjust it manually in processing.
Bottom line – If you get to play with one of these don’t panic when you see your images. Stop, relax and cool down; everything will be fine.
A word of caution:
The effects of this filter can impart very strong reactions from people. To many “landscape purists” it’s unnatural or cheating. On the other hand many people really enjoy how it renders the image. Just like using saturation, vibrance, blending or any other technique to increase your image’s visual impact, this is just a tool. Landscape photography should be about your own personal artistic representation of a scene, not someone else’s notion of the the craft should be.
Shoot, experiment and have fun.
Cheers
Surging Sea
Posted by Doug Otto in Photography, Travel on December 10, 2008
This image, also from Point Lobos, presented many of the same challenges as Sunset from another planet. The sun was just starting to come out of the clouds and was really bright. The foreground was reasonably well lit but the rock across the inlet was in shadow. I had to make the conscious choice to give up the detail in those rocks in an effort to capture the texture in the foreground.
Just like in the other image, I also had to use 6 stops of graduated neutral density filter to hold the detail in the sky. The combination resulted in an exposure just long enough to turn the sea into a foamy froth, but short enough to retain the wispy texture. As much fun as Sunset from another planet was to make, this is a much more realist scene.
Details. This was shot using a Canon 17-40mm f/4L @ 17mm on my Canon 5D. The exposure was 1 full second, at ISO 100 and f/13 aperture. As always, I was using a tripod for this shot.
Sunset from another planet
Posted by Doug Otto in Photography, Travel on December 8, 2008
If you’ve spent any time in the Sacramento area this time of year you know it can be dreary. The topology of the valley makes for idea fog conditions. While it may be sunny and bright 30 miles from here, in the valley it’s dark and grey; sometimes for weeks at a time. When an opportunity to escape the gloom presents itself, we take it. Last Friday was the annual member’s Christmas party at the Monterey Bay Aquarium so we made a weekend of it.
We spent Saturday at Point Lobos, a California State Preserve just South of Monterey, hiking and crawling around tide pools. The real show began at sunset. The amazing colors captured were the result of a very specialized polarizing filter, and some other filters, made by Singh-Ray; they weren’t produced in Photoshop or by any other software. It gives a really interesting, somewhat unnatural, effect that can be modified by rotating the filter. Unlike a normal polarizer it really impacts your white balance setting so shooting RAW is almost a necessity.
Details:
Canon 5D, Canon 17-40 f/4L @ 17mm, f/16, ISO 400 @ 3 seconds. Threaded onto the lens is a Singh-Ray Gold-N-Blue polarizer. The top 1/3 of the image was really hot so I used a combination of a 3 stop hard-edge split graduated filter as well as a 3 stop soft-edge filter, stacked on top of one another. I held the filters by hand in front of the lens. A tripod, of course, was required.
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