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2013 eloquent evenings9/8/2023 To increase my margin for error I stop down to f16 because I know from experience, at f16 on my camera, diffraction and lens softness will be tolerable. Hmmm, at this wide focal length (20mm) my hyperfocal app says f11 will give me “acceptable” sharpness. Need to be sharp from front to back -> Small aperture, but not so small that diffraction or softness (lenses tend to be less sharp at their extreme apertures) is a problem.Will deal with disguising the GND transition in Photoshop. Lots of dynamic range here -> Time for the Singh-Ray graduated neutral density filters.Yeah, I think I can do something with this composition -> Set up the tripod.Don’t want to go all the way out to 17mm and risk losing sharpness at the corners -> 20mm will work.But if I go too far right with my composition, I crowd the sun and cut off part of the reflective pool on the left -> Go super-wide with the 17-40.Don’t want to cut Molokai off -> Definitely need the 17-40.Love these pools-would love to balance them with the setting sun and Molokai in the distance -> If I stand here, this long pool creates a nice diagonal pointing toward Molokai, and connecting the background pool on the left with the sun creates a corresponding (balancing) diagonal in the other direction.Hmmm-beautiful scene, with real potential for sunset color -> Wander around a bit in search of a foreground to go with the Pacific sunset.Its genesis came long before the final click (and the beautiful color that made this moment special). Often this is a multi-click process requiring multiple frames, with analysis and refinement in between, each frame informing the next until I’m satisfied.īelow is a summary of my mental process as I tried to turn this beautiful Maui sunset into a photograph. And finally, when I think everything’s in place, I return to my creative instincts and allow my intuitive side to actually click the shutter-that is, it has to feel right. Usually compromises are required, as one need usually contradicts another (see “cat juggling,” above). Next, I evaluate the scene’s exposure, depth, and motion variables, and how to best manage them with my camera’s aperture, shutter, and ISO settings. Using that seed, a general idea for a composition emerges. The difficulty is compounded by the unfortunate need to simultaneously process input from two sides of the brain (creative and logical) that don’t often play well together.įor me an image usually starts with a feeling or connection, not just the scene’s now, but also for its what-might-be. Facing West, Molokai from West Maui, HawaiiĬoordinating all of the rapidly changing exposure and composition variables sometimes feels like juggling cats (thankfully without the bloodshed).
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