Last week I posted the image below and asked you to deconstruct it and tell me how it was done. Among others, I asked you if it was composited or one frame, what you thought was done in terms of lighting choices, post-processing and so on. At the end of, the person who got the closest would get a 12×18″ of their choice.
The answers pretty much covered the entire gamut with some really intricate responses and some more straightforward. So how did Amanda and I make this image?
Well believe it or not, this is a single frame. No trees or snow or model were added.
Let’s start: it was snowing very heavily that day, with big, fluffy snowflakes falling at an impressing rate. By choosing a slightly long focal length, we knew that was going to make the background look foggy. The key to this image is two fold. First, Amanda is standing under the shade of the tree, thus creating a strong contrast with the background which is much brighter. Second, the choice of lighting had a strong influence on the final look. Instead of going for the colourless and drab conditions that prevailed at the time, we thought we’d rather go with a cooler atmosphere and convey the cold feeling that reigned at the time. For this we chose a low WB temperature (4700K), to compensate for that and maintaining the warm tones of the came and Amanda’s skin tones, we gelled two flashes with full CTO gels, slapped them on an umbrella at camera left at a 45 degree angle to Amanda. And that was that.
In post-processing, we simply added a tiny bit of contrast, brought in some highlights then cloned out all of the footsteps to keep a clean look.
And tadaa!
Congratulations to Duffy Knox for coming the closest to the actual explanation. You had it down to a tee! I will be in touch shortly.
While driving from Merzouga (the sand dunes) to Marrakech during my last Morocco Photo tour, we happened upon some pretty light near Ouarzazate, prompting me to bring the minibus to a screeching halt. (This was pretty much at noon by the way, so you just never know). As soon as we got out, I knew exactly what I wanted to do. The colours in the landscape just begged for it. The layers of clay, limestone and whatever the heck else it was, combining with the great cloud looming over the mountain and the great light screamed compression. A simple, graphic image, closing in on the layers of colour was what it was going to be. The Sigma 70-200 f/2.8 OS was obviously called into action.
Now what remained to be seen was how to make the most of the scene. (Click on the images to see them at full size).
Taking a vertical composition allowed me to include the entire gamut of apparent layers (6 if I count 2 in the cloud). The almost identical size of each layer creates a nice rhythm in the composition that keeps you going from one layer to the other. The layers being stacked vertically, the vertical composition forces your eye upwards, thus strengthening the message I am trying to convey. The colours aren’t too shabby either.
While the vertical composition works as I explained above, I felt that the orientation was a bit constraining and cramped. We “read” images much the same way we read text, from left to right (well, Westerners do, being arabophone, I am not sure that statement fully applies to me
). By switching the camera on its side, I provide the viewer with a bit more space to “read” along each layer, giving a bit more space to explore it. I do sacrifice one layer (compared to the vertical), but I feel this version allows one to spend more time on the image, without sacrificing much.
At this point, I could have easily packed my gear and called it a day, but I felt there was a bit more to eke out of this place. If it is the layers of colours I was attracted to and wanted to portray, why not simplify my composition even more? To do that, I stopped my lens down to f/22 to slow the shutter speed sufficiently to allow for some lateral panning. In this way, I was able to mute all traces of texture and turn this image into an abstract.
In the end, I am not sure that either image is stronger or better than the others. They are simply three different ways to look at the same scene, yet convey different messages. The take-home message here is that the next time you decide to photograph a place, explore your options, don’t stop at the first image you come upon.
If you have managed to read this far you also get to find out that I have a new “Recent work” gallery up featuring fresh images from Morocco and Spain.
Fall this year has been an odd one. Or at least that’s how it felt. It was summer, then one day it was late fall. The colours weren’t at their spectacular best and lasted all of a week really. All in all we didn’t have much to play with. That said on the few times we actually managed to get out and shoot, the landscape was more than cooperative with some great atmospheric conditions, lovely light and beautiful scenery.
On this particular shoot, the entire Ottawa valley and a vast surrounding area were shrouded in a think blanket of fog. After a “blind” early morning drive took us to the bridge near Farrelton, QC (Images next week, I promise), we drove around along some of the backroads in rural Quebec, settling for a lovely little farm not far from the river. It turned out to be a much tougher shoot than I would have liked as we couldn’t muster the most interesting points of view to take advantage of the amazing old maple trees. However, the fog masking much of the surrounding areas allowed me to go for simpler, cleaner compositions. Tip of the day: when shooting fog, the longer your lens, the more effective you will be in showing the fog as you essentially put a deeper layer of fog between your lens and your subject.
The compression is REALLY not doing this one a favour, so I would suggest you click on the image to see it larger.
Fall is in full swing around here and the colours are just about to peak in the area. If you are out and about in the coming week or two, here are a few tips to maximize your shooting opportunities:
1- Do your research
Like many things in life, luck favours the prepared mind. Photography is no different. It is always a good idea to monitor fall colour progression reports on the net before you head out on a shoot. Most weather forecast websites will have one, and I encourage you to use it. There is no sense traveling across the country only to realize colours have yet to peak, or worse, are past their prime. If you are shooting in your area, it is also always a good idea to pre-scout a week or two beforehand to get a better sense of where your best opportunities will be. To illustrate how important this can be, here is a little anecdote from this past week. Amanda and I are preparing for a shoot idea this fall that involved bringing models to a couple of favourite waterfalls. Lo and behold, on our scouting trip we discovered that both waterfalls are completely dried up this season, forcing us to change our plans. Had we not pre-scouted, it could have made for some embarrassing moments with our models (and a wasted shoot).
2- Reflections
When most people concentrate on shooting foliage and trees directly, one of my favourite subjects to photograph in the fall is reflections of fall colours on water. There are endless ways to do this, but to add interest to your scene include rocks or other objects (tree trunks) in your images.
3- Get close
With the explosion of colour characteristic of our region, it is easy to get dazed and confused. There is so much to look at and work with that it is hard to concentrate on a subject, leading to somewhat ineffective compositions at times. One easy way to avoid this is simply by concentrating on smaller, intimate areas. Bring out your telephotos or macro lenses and hone in on specific details. Make the image just about the colour by focusing on one or two leaves, on or two trees.
4- Take advantage of fall weather
One of the main characteristics of fall is the juxtaposition of warm days and cool nights. The direct effect of this is the frequent presence of fog or mist early in the morning. Watch the weather forecast and make sure you get up early on cool humid mornings following a warmer day. Take advantage of the soft contrast provided by the fog, then watch it burn off as the sun rises above, leading to some extraordinary light conditions.
5- Camera shake
As nature/landscape photographers I am sure you have all been told time and again to steady your camera to nth degree. Well, sometimes you want to just forget about that, take your camera off the tripod and shoot handheld. Find yourself a bunch of tall dark trees or a nice grove of aspens, make sure you’ve got some gorgeous fall colours as a backdrop, then move your camera up and down as you take your exposure. This will result some lovely abstract photographs with a nice impressionist touch.
As soon as the weather turns a bit sour, dark clouds, rain, windy, cold, most of us just pack their gear and call it a day.
Yet, if there is one time you should really stick it out just a bit longer, it’s certainly during crappy weather.
For one, you just never know! The instability in the air can give rise to some truly spectacular light…I mean the sort of light legends are made of.
Even when the light doesn’t seem to be there, there are still plenty of opportunities out there. At the very least you are most likely to come up with an original take on the place (since most people packed their gear, few got a chance to record it). More importantly, I find that dark, stormy sky are extremely atmospheric and lend a great moody look to the most mundane of scenes.
I was reminded of this as recently as yesterday. The skies were hovering between dull and menacing. I decided to give it a go anyway, and I wasn’t disappointed.