RichardTaylor Loc: Sydney, Australia

Inspired by this post:

https://www.uglyhedgehog.com/t-564411-1.html

I intend to post a number examples of my thought process, equipment, lighting, and general shooting info.

For a number of years I shot with groups that liked to photograph seascapes at dawn. They would analyse the weather reports, including expected cloude cover, and sea state (tide and swell). The advantages of shooting with other photographers, at these locations, is safety and you can watch and learn how other people work. They are on location, and set up, before first light and usallly leave about 1/2 hour after sunrise. The shoots are always followed up by breakfast together where one of the topics discussed is photography.

Example #1
Location - Redhead Beach, in the Newcastle area (NSW, Australia), about 2 hours (but not in peak hour) drive north of Sydney, where I live. This was the second time I had been at this location. The first time was a washout (we didn't see a sunrise), however it resulted in some ok moody shots. This time it just "went off!"
Shot mid summer sunrise.

Gear - For these shoots it is two bodies, one with a "standard zoom", and the other with a wide angle zoom. Landscape filters (ND, soft ND grad, polariser) and lens hoods. A tripod, with a remote release. A flashlight, or a headlamp is a neccesity as you will be gettiing to site and setting up in the dark. The flashlight can also help with focussing if need be. At some locations you will need rock fishing boots (with spikes) as it can be very slippery.

Shooting technique - for these shoots, with tricky lighting, I will be shooting full manual exposure, and manual focus. I will be doing a lot of chimping of the histogram which give me a guide to the exposure.

What am I looking for - "moments", light and composition. If you can get all three then that is great.
I will normally move around (working the scene?) checking out what looks good. Be very observant. Keep in mind the light may be changing all the time.
The example certainly has the light (and reflections) and the compsition is ok. The photographer is a nice addition - I didn't ask him to pose, and I like having figures in lots of my 'scapes.

Post processing of the originala raw files is usually just a crop, expsure tweak (if needed) and sharpening.

Technical details-
Canon EOS 5D + EF24-105mm f/4L IS USM
1/4 second @ ƒ/9.0 and F=40mm, ISO 50
Lens hood and 3 stop soft ND grad (to control the sky) was used.
Tripod with remote release.

Thanks for looking and feel free to add the the thread and/or ask questions.
More to come (I don't just shoot 'scapes)

Readhead dawn.

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CHG_CANON Loc: the Windy City

Good details on background, excellent example result! I like the admission of chimping as I've detected a subtle undercurrent of dismissiveness on this process to achieve the proper exposure settings.

Linda From Maine Loc: Yakima, Washington

Preparation, proper gear, composition and an understanding of light - I think your photo proves that all are needed to achieve success. Thanks for the inspiration and knowledge, Richard!

CSand Loc: Fayetteville, Georgia

I am grateful that you welcomed us to add to the thread. I am not a morning person but braved a shoot to great the day with friends a few days ago. Had little experience in how to shoot what I was seeing. Your info is very helpful for me and I welcome more. The day was foggy and beautiful. I feel the one I am posting is very dark but to lighten exposure loses the mood for me. Just looked back at your info and you gave me more good info which I need. You mentioned slippery rocks and rock fishing boots with spikes. Didn't know such existed. I slipped on waterfall rocks the other day and really cracked my pelvic, if you will. Still hurting and may have a bit of a fracture. Was wearing boots and being careful. Just happened. Thank you.

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PeterBergh

Your picture is very good. It reminds me of a mid-1800s painting by one of the later romantics (Marcus Larsson, to be specific).

RichardTaylor Loc: Sydney, Australia

Thanks very much. I don't chimp all the time, it is mostly only when the light is tricky.

RichardTaylor Loc: Sydney, Australia

Thanks Linda.

RichardTaylor Loc: Sydney, Australia

Glad to be of help, and I do like the mood of your photograph. Atmospheric weather can be great. Sorry to hear of your accident. Down here the rock fishing boots (or cleats) are sold by fishing supply shops.

Linda From Maine Loc: Yakima, Washington

I'm very attracted to your dramatic lighting and mood, Sandy! Sorry about the fall. I took a tumble in the mountains two summers ago; fortunately, nothing broke (including my glasses or camera, lol), but it could have been very nasty.

Richard, I used to be a much more deliberate and prepared shooter. In recent years it's been more about driving around in search of fleeting moments of interesting light or weather, or a critter sighting

One location I'd driven past often, however, is the factory in the below photo. I knew that if I arrived in early morning and the operation was running (smoke release), I could get a potentially interesting photo with backlighting. I didn't realize until I parked and stepped beside the tracks that I'd have this kind of light on the rails if I under-exposed.

I feel this photo is an example of understanding exposure (how to use exposure compensation or manual mode to achieve the desired result), knowing the value of low angle of sun for drama (just as Richard's and CSand's demonstrate), and being aware of certain composition basics such as leading lines. I shot this in raw with a Panasonic G7 (M4/3 mirrorless) camera and 14-140 mm lens. But my old $375 Canon sx50 bridge camera could have captured it pretty well too

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R.G. Loc: Scotland

Gear - one camera (with cable release), one lens, one tripod (doubles as a monopod).

Methodology:- Have a short break on the west coast of Scotland. Take a map and look for potentially fortuitous combinations of mountains, lochs etc. Grab shots of whatever scenery presents itself along the way.

I agree that composition is the main ingredient as far as lifting shots to another level goes. Yes I'm familiar with and make good use of composition elements like leading lines, natural framing, channels, negative space etc. But to my mind the most vital ingredient is finding just the right place to stand. Apart from occasional deliberate exceptions I look for balance in my composition, which typically involves finding just the right angle of view from just the right viewpoint. If I can combine that with leading lines or a foreground channel to guide the eye or some framing elements to contain the scene, I know I'm onto a winner (i.e. a shot that's one step up from a run-of-the mill snapshot).

Here are some shots which I would describe as successful because I found just the right place to stand.

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RichardTaylor Loc: Sydney, Australia

Love the light in this one, Linda.
Just driving around looking for images can be ok as well. Just think of vacation photographs, especially if they are to places you havn't been before.

RichardTaylor Loc: Sydney, Australia

Good set, and having the "eye" to recognise such scenes helps a lot. I find I work best alone or with a group of like minded people (no questions like "how many pictures of those mountain goats do you need?") , although sometimes you can get lucky.

RichardTaylor Loc: Sydney, Australia

In some cases gear matters.

Example #2:
If you are shooting for somebody else having backup gear is a necessity.
For some subjects having good gear matters, a point & shoot camera won't cut it. From personal experience this includes birds in flight, classical music concerts, and sport.

For quite a few years I was asked by a sporting body to shoot trackside at motor racing events.
Primary camera was a midrange body with a long (up to 500mm) zoom lens. Back was a lesser spec body with a 70-300 lens. I never needed the backup.
A monopod helps with the weight of long lenses on 8 hour shoots (you cannot use a tripod when shooting trackside).
You may also need wet weather gear for you and your camera. Some of the best shots are when it is raining.

With these subjects I am trying to catch competition and "moments". You have no control over the lighting, the subjects, and only limited control over shooting position, although you can follow the light around the track.
It really helps if you know your gear, so you are not fiddeling with knobs whilst action is happening, the track (so you know where things are likely to happen and when the "best light is), and the cars/drivers. With motor sport you are trying to show motion so that will mean panning and/or shooting at slower shutter speed so at the very least you want blurred wheels.

This location is less than 10 minutes drive from home and ~200 metres away from the control tower where you sign in. The weather forecast was for heavy rain and it was right.
It made for a great days shooting as the light is very even and there are no harsh shadows. I was the only person shooting at this corner for the whole morning.
Chimping at these events is kept to a minimum and definately not when there are cars around. Some photographers call the screen at the back of the camera "the distractor".

The example shows competition and a "moment".
Technical:
Canon EOS 40D + EF100-400mm f/4.5-5.6L IS USM lens.
1/320 @ ƒ/9.0. F=375.0 mm and ISO 320
Monopod

Thanks for looking and feel free to add the the thread and/or ask questions.
More to come.

In the wet.

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dbfalconer Loc: Salida CO

What an inspiring and rewarding thread! I love it when others are welcome to post/share. It’s not a competition: it becomes a visual conversation. All these beautiful photos inspire me to try new subjects and techniques. Thanks to all for posting!

CHG_CANON Loc: the Windy City

What was it? f/8 and be there?

You can have all the top equipment money can buy, but you still need an interesting subject, good light and the skill and experience to use it as the moment is happening. Here's an end of day result (5:20pm) after 5+ hours on the 2nd day of shooting at Bosque del Apache where I felt I was finally making some progress on birds in flight ...

Sandhill Cranes by Paul Sager, on Flickr


Technical details are on Flickr via the URL link. First you've got to get the capture, and then you've got to edit .... I'm sure 2000+ files from that day went straight to the delete button. But, a few good ones sure make you want to get out and try and try again.