I don’t think panoramic images are best viewed on Instagram. So here’s a short video showing three panorama images in closer detail from my trip to the Sierra Nevada Mountains this past November. If this video is still too small for you, it’s also available on my YouTube channel. Link to video is in my profile.
Behind the scenes setup of my Hasselblad 501CM for the Rush Creek photograph that I showed on December 29, 2016. As you can see here, the light is hard with the mountain on the right lit from high left causing long shadows, the mountain on the left in shade, and the distant mountain in hazy light. A slight backlight illuminated the valley floor, which created more definition in the grass detail.
As I sat perched on this exposed cliff, I waited about two hours for the light to flood the valley floor. I also wanted to make sure that the mountain on the right was fully lit so that the three mountains were separate in tone. Additionally, I used a Singh-Ray circular polariser to remove the glare from the water, which caused it to go dark in tone, and a Lee Filters Yellow #8 to lighten the tone of the yellow grass and create more contrast between it and the dirt. I feel that I was successful in the final image and hope you agree. It’s one of my favorites.
Behind the scenes setup of my Toyo 4×5 view camera for the Mono Lake photograph that I showed on January 3rd. As you can see here, there are clouds and contrails in the sky that are also reflected in the water. In my final image, I didn’t want any of this detail, so I used a Lee Filters Big Stopper 10-stop ND filter and exposed Kodak Tri-X for 30 minutes to effectively make them disappear. The water was practically glass smooth, but the long exposure ensured that it would remain that way on the final image. Camera setup is on a Gitzo GT4552GTS tripod with a Manfrotto 405 pan-tilt head and Really Right Stuff quick-release plate. @leefilters @kodak @kodakprofilmbiz @gitzoinspires @manfrottoimaginemore @reallyrightstuff
This is my Toyo 8×10 view camera in position for the image I shot of Parker Creek. This setup had some challenges. For one, the position of the camera on top of the rock didn’t allow me to easily move the tripod where I wanted. Therefore, it took some time getting it just right. Another challenge was my position while adjusting and focusing the camera. As I stood on the rock, my footing wasn’t level, so I had to contort myself a bit while under the dark cloth. Despite all this, however, I eventually succeeded, and I’m very happy with the final image. @gitzoinspires @manfrottoimaginemore
With yesterdays photograph, this series of images from my November 2016 Sierras trip comes to a conclusion. In total, I captured 22 images on film in five days that I’m extremely happy with. My goal is never to simply shoot as much as I can, but rather to create the strongest images possible. Sometimes I come home with a couple nice images, other times a few more. But never have I come home from a trip with this many that I’m so thrilled about.
And with that said, thank you for allowing me to share them with you. In addition, I give you my sincerest thanks for the likes, comments, and all the new followers along the way. I really appreciate your feedback and support.
When I arrived upon this location, I had no idea how the morning would turn out. Nonetheless, I set up my camera with this composition and waited. Over the course of an hour or two, the skies remained overcast and gray, and it even snowed on me for a brief time. While I waited, I began to think that the morning was going to be a bust without any good shots. But slowly, the clouds thinned and the sun started to cast it’s light on the landscape. My excitement grew with the potential possibilities.
As the scene developed, I exposed my first sheet of film, but quickly realized that I set my shutter speed incorrectly. Instead of double exposing the film to correct, I flipped the holder and exposed my only remaining sheet of Velvia 50. I’m very pleased with the final image, but I must confess that the transparency has a severe magenta cast due to its age, which is more than 15 years old. This image was photographed with a Toyo 8×10 view camera on Fuji Velvia 50.