Anything longer than a shutter speed of 1 second is considered long exposure photography. This capture on film was made way before there were digital cameras with metadata attached to the files and I did not take copious notes back in the day, but I can tell it’s a 4-5 sec. shutter speed. When there is water in motion such as this falls, the long exposure blurs it giving the water a silky smooth look. To achieve this effect, the camera must be mounted on a tripod. If not, everything in the frame will be blurred, not just the water.
Nikon N6006 SLR, AF Nikkor 24mm f/2.8D, exposure: not recorded, M-up mode, film: Kodak Kodachrome 64 Professional color transparency film, Manfrotto 3221 with Manfrotto 3265 pistol grip ball head, Nikon MC-20 remote cable, Plustek OpticFilm 7600i Ai, 35 mm film scanner, LaserSoft Imaging SilverFast 8 scanner software
(from conversation on Blog-Bisogno.com)
The alternative: If you’re driving Highway 1 heading north from Los Angeles to San Francisco, turn right on the Coast Road 2.5 miles north of Big Sur. It’s a 10 mile dirt shelf road that climbs 1,200 ft above the Pacific Ocean. The view is something you will never forget. Around the seven mile mark, the road dips down into California’s southernmost old growth redwood grove and the road ends at the North end of Bixby Creek Bridge.
I pulled over on the dirt road a few hundred feet above the bridge hoping for a different angle than most of the photographs taken. It turned out to be too far away so I bushwhacked down the slope and set up just above the top of the bridge. It was good timing; only a half hour wait to the golden hour, when the California coast turns to pure gold.
Mamiya RZ67 Pro ll medium format camera, Mamiya 180mm f/4.5 lens, Seconic L508 light meter, Kodak Ektachrome E100SW color transparency film, 120 color reversal film scanned on Imacon Flextight scanner, Manfrotto 3265 tripod, Manfrotto 3047 studio head, 2003 Xterra.
There were many colorful lanterns lining both sides of the wooden bridge spanning this almost dry riverbed. They were all worthy of being photographed, but the three in the center caught my eyes due to the semi symmetrical nature of the background. That is not a Nazi Swastika on the right lantern, but rather a very sacred and auspicious Buddhist symbol. It is also a Native American symbol most likely brought over by descendants who crossed the land bridge which once existed between Asia and North America, and is now the Aleutian Islands.
Nikon N6006 SLR, AF Nikkor 50mm f/1.8D, exposure: not recorded, M-up mode, film: Kodak Kodachrome 64 Professional color transparency film, Manfrotto 3221 with Manfrotto 3265 pistol grip ball head, Nikon MC-20 remote cable, Plustek OpticFilm 7600i Ai, 35 mm film scanner, LaserSoft Imaging SilverFast 8 scanner software
I’ll never forget this image captured at the Nisei Festival, Little Tokyo, Los Angeles, in August, 1996. This little Japanese cherub was the first one up on stage. He faced the audience, gave them an angelic smile, turned to face his opponent (a girl twice his size), assumed the karate position, then flipped her right over his head. The crowd went wild!
Nikon N90S SLR, Nikkor AF Zoom-NIKKOR 80-200mm f-2.8D ED, Kodak Ektachrome E100SW color transparency film, Plustek OpticFilm 7600i Ai film scanner, LaserSoft Imaging SilverFast 8 scanner software, exposure not recorded, handheld.
you may also enjoy Famous non-Artist Quote #0197
North Carolina is not really known for aspens though some nice stands can be found in Haywood and Ashe counties in western N. Carolina. These are not the quaking aspen variety of the western United States, but rather the big tooth aspen of the eastern US and Canada. Once the heart of the Cherokee Nation, it is no wonder why the Cherokees loved this land where they lived for many generations…until The Trail of Tears.
This image was captured on film. As much as I love the dramatic rendition of color and contrast that Kodachrome 64 provides, you really have to know that film well and use the right Kodak Wratten color compensation filters for the light provided to get good results. At ISO 18 and 64, it was also very slow. Another way to go would be Kodak E100SW film (which I used for this image), the S standing for saturation and the W for warm color spectrum. In most situations, E100SW needed no filtration. It had a tight grain structure making it very sharp, and at ISO 100 was faster than Kodachrome. All I had on the lens was a skylight filter for protection.
All that technical crapola aside, let’s consider the good stuff; the discovery of the scene, the feelings while composing that scene, cropping out everything unneeded, leaving only the essentials, then waiting till the sun is low enough to reflect its golden rays off the yellow aspen leaves which glint pure gold back at your lens. Let the magic show begin!
Nikon N90S SLR, AF NIKKOR 50mm f/1.8D, exposure: not recorded, Kodak E100SW Professional color transparency film, filter: Nikon L37C, program mode: Aperture Priority, M-up Mode, Manfrotto 3221 tripod with Manfrotto 3265 pistol grip ball head, Nikon MC-20 remote cable, Plustek OpticFilm 7600i Ai, 35 mm film scanner, LaserSoft Imaging SilverFast 8 scanner software.