Rainbows I found in the Owens Valley on October 5, 2010 while scouting conditions for the Fall Colors workshop. The rainbows move across the landscape as the sun moves across the sky.
Best viewed in high definition over on Flickr!
Only 36 hours left in the voting for the Blog Your Way Around The World contest. I'd love to bring you more sights like this from around the world! http://www.blogyourwayaroundtheworld.com/blogs/view/1238
I'll place images from the trip on a site where you can order prints. Proceeeds from the sale of those prints will go towards charities and conservation organizations relevant to each of the areas visited.
I found the contest late, so every vote counts... tell your friends on Facebook, Twitter, etc! It'll take a miracle, but who knows... maybe a church or two would mobilize their members to support the charitable nature of this quest?
A single image from a several hour, 438 frame timelapse I'm working on, taken while backpacking last Summer.
Flickr isn't accepting the HD video files I've been trying to upload this week. Vimeo.com only lets me upload one high definition file per week (I don't have a revenue stream for video to justify upgrading to unlimited), so I'm not sure when I'll a high resolution copy available. In the meantime however, you can see Vimeo's severely downgraded preview:
Sierra Nevada Milky Way Timelapse from Jeff Sullivan on Vimeo.
Outdoor/adventure photography is a challenging field. You're only as good as the depth of your portfolio and the compelling nature of your latest images. Those of you I've interacted with know that I don't ask for much... I prefer to contribute rather than ask, but this is important enough that I'm going to ask a huge personal favor. If you've enjoyed my images (or like what you see in my Flickr photostream and Favorites set if you've never seen my work before), please consider taking a moment to giving me the holiday gift of a vote... to send me on 8 adventure travel trips so I can build my portfolio as a travel/adventure photographer:
http://www.blogyourwayaroundtheworld.com/blogs/view/1238
For many years I've admired adventure photographers such as Galen Rowell, and this is an excellent opportunity to follow in his footsteps. Winning this contest will be expensive (the winner must cover thousands of dollars in travel expenses), but such an opportunity could make my photography career, so it will be a worthwhile investment.
The site requires registration, but they won't spam you. Winning this contest could literally be a life-changing event for me. Thanks in advance for your consideration and support!
Happy Holidays!
Jeff Sullivan
On my primary camera, a Canon 5D Mark II, I shot a timelapse sequence of the eclipsing moon moving through the sky, as thin clouds moved overhead and the light turned red from the moon's darkened face.
I've been poring over maps, examining moon rise and set angles on Google Earth maps, calculating what lenses might cover various phases of the total lunar eclipse Monday night, and anxiously checking weather forecasts.
This will be the only total lunar eclipse until 2014, so to me it's worth an investment of time and effort to witness and to shoot. It might even be worth renting a lens for. Unfortunately, the entire West Coast looks out of the question due to weather, so I'm heading to Southern Arizona. I still have to cross the Sierra Nevada twice in the blizzard today, then I'll have a 15 hour drive to Arizona (maybe 20 hours total, if I'm lucky). On the plus side, capturing the lunar eclipse over a tall saguaro cactus could offer some stunning possibilities, not to mention sunrise and sunset.
If you're as crazy as I am and dying to get shots of the eclipse, I'd like to invite photographers to join me. I can save you days of research and I can help you line you some nice sunrise and sunset shots in addition to improving your chances of capturing nice eclipse photos and/or timelapse sequences. During an eclipse the exposure of the light coming off the moon changes dramatically, and it's helpful to have others nearby to compare exposure information with.
All I ask is that you have some night photography experience, a tripod and remote trigger (wireless or corded, even better if you have an intervalometer timer-trigger), and that you can work around your camera at night without letting any light leak forward into the shot. That last point is very, very important. It gets extremely dark during a total lunar eclipse, and a timelapse sequence of the entire event can be ruined by one stray flashlight or headlamp.
We'll set a time and place, meet around sunset, and shoot through dawn. Anyone heading back towards California after that is welcome to join me in searching for favorable light and weather over the following day or two (no guarantees that the weather will cooperate, which is why I'm not offering it as an official workshop add-on, but unsettled weather is the most dramatic visually, so I'm very excited about the forecast). Possibilities include Imperial Sand Dunse, Anza-Borrego State Park, the Salton Sea, Mojave National Preserve and Death Valley (a huge range, but the National Weather Service will help narrow down the choices). The Grand Canyon isn't out of the question geography-wise, but it's currently directly in the path of the storm, so a low probability (and it's snowy and very cold).
If you need to check airline flight availability and cost, the closest airport will be Tucson. If you'd like to extend your trip, I can offer some suggestions if you'd like to shoot within a few hours of there for an additional day or two. The weather there is forecast to be a low of 46 degrees, 70s during the day.
Whatever you decide, best of luck to you on your weather and your eclipse shots!
It may be days or weeks before I get enough time and an appropriately capable Internet connection to do my Geminid Meteor Shower trip justice, but I can direct you to a collection of the favorite images that I've run across so far:
http://www.facebook.com/album.php?aid=262459&id=346430679644
Death Valley offers a number of interesting landscapes for light painting... go explore!
The full moon enters the earth's shadow during a lunar eclipse. The next one will occur December 20, 2010: http://eclipse.gsfc.nasa.gov/OH/OH2010.html
This eclipse will be well suited for viewing from North America, particularly the West Coast, with the darkest portion of the eclipse happening at 12:16am Pacific Standard Time.
I'm working out detailed shooting strategies for the following scenarios, so I can decide which ones to shoot and which lenses I'll need to capture each at maximum resolution:
- Moonrise in "golden hour" daylight before Sunset:
- Continued moonrise in best post-sunset light
- Night landscapes with full moon in penumbral dim state
- Telephoto shots of moon in various eclipse phases
- Entire visible eclipse (sequence for still shots, timelapse video or phase composite photo)
- Entire total eclipse (sequence for still shots, timelapse video or phase composite photo)
- Moonset in best pre-sunrise light
- Sunrise to moonset, "golden hour" daylight
I've spent a few hours figuring our rise/set and eclipse angles so I can select a general site, specific shooting positions where I can incorporate landscape elements into the shots. The moon will cover a tremendous amount of sky on that night, rising in the northeast and setting in the northwest. To shoot from moonrise to moonset he site will need to have shooting opportunities covering roughly 240 degrees, almost 3/4 of a full 360 degree circle.
I'll make the final decision on site later this week once I can see a 10 day weather forecast, but I'm leaning towards a Southern California desert location to reduce the odds of having interference from weather.
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| Moon rise during sunset at Mono Lake. The blue color near the horizon is the shadow of the earth. |
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| Moon rise 6:59 pm (light blue line shows direction), shortly before 7:14 pm sun set (orange line shows direction). |
I've dug up this old meteor shower timelapse to remind people of the Geminid Meteor Shower is coming December 13, 2010. The most dense showers tend to be visible after midnight as we rotate around to the front of the earth as it travels through space, so for a nice preview, try Sunday night Dec 12 after midnight (which technically will be Monday). The moon will set around 12:39am on the West Coast, further enhancing viewing conditions.
NASA tells us that the Geminid Meteor Shower will be the best of 2010, with the best viewing occurring on the night of December 13-14. I hope to be out shooting on the three nights beginning on December 12, 13, and 14.
This timelapse video above is from the Orionid Meteor Shower in October 2009. (Check a few posts back on my blog for details on how to produce a timelapse from a sequence of photos.) For best viewing you must go to Flickr to view this, select HD to view it in high resolution, and click the icon towards the lower right to view it full screen. Enjoy!
All in all that Orionid shower had a pretty disappointing showing of meteors. I woke up to go out the second night, but it was below freezing with 20 knot winds, so given the results on the first night I decided not to go sit out in the potentially sub-zero wind chill for an hour or two!
We've all seen nice images of waves crashing on the coast, and it's a pretty safe bet that you can find large waves after storms pass through coastal areas. But what you may not know is that models have been constructed to predict wave height in advance! Surfers and divers often consult these predictions, and photographers can use them as well.
Waves include wind-generated "windswell" which can come from winds or storms in multiple directions. Current prediction models such as NOAA's Wavewatch III wavemodel can forecast waves coming from up to six different directions simultaneously, all interacting to create the waves you see onsite.
Here's an example of a surf forecast for the Big Sur Coast:
http://www.stormsurf.com/cgi-bin/4cast.cgi?ID=enp.46028
Here's a map you can use to select other California coastal locations: http://www.stormsurf.com/buoy/mht/ncalz.html
Based on the forecast, I'm going to make a point of pursuing large waves along the Big Sur this Thursday. I'll let you know how it turns out!
We've all seen those nice one or two second exposures which make waterfalls look silky. Select your smallesta aperture, set your ISO sensitivity low, and perhaps add a circular polarizer to your lens to reduce light, and those exposures should be within range. But have you considered longer daylight exposures and similarly abstracting other moving subjects such as waves?
On a recent trip to California's Big Sur coast I was shooting long pre-dawn exposures and I decided to continue with long exposures for as long as I could. I started with my wide and midrange lenses closed to their smallest aperture f/22, I gradually reduced ISO sensitivity to Low (ISO 50) as the light increased, and I added a polarizing filter to cut light. As the sky lightened I added a 3 stop graduated neutral density filter to reduce light coming from the sky.
As the day continued to brighten I continued shooting but added a 3 stop neutral density filter and eventually I changed to a 70-200mm lens to further reduce aperture another stop to f/32. I had started with a Hoya Pro1 circular polarizer which only reduces light 1 1/4 stop, so I also used a darker polarizer which cut 2 stops of light. With the polarizer plus the ND and GND filters stacked I was cutting 8 stops of light in the sky and 5 elsewhere, on a camera shooting at f/32, ISO 50.
To continue in bright, direct sunlight you'll need to settle for shorter exposure times or go further to cut the light such as with a 10 stop ND filter. But a 10 stop filter is a pretty specialized tool that might not be on the top of your wish list, so in the meantime try shooting near dusk and dawn with your smallest aperture (most likely on your longest zoom lens), stacking the light-cutting filters you already have on hand.
A few things I should mention though... if you try long shots like this, it's critical to use a sturdy tripod, a remote shutter release or your camera's self timer, and don't forget to turn your camera's image stabilization off.
An article on the PhotoShelter blog "What Google trends Says About Wedding & Stock Photography, and Photo Websites" proposes that a drop in Flickr ratings on Google Trends may be due to an increase in the popularity of Facebook for photo sharing. I disagree strongly with the article's conclusions.
The drop in Yahoo-owned Flickr status in competitor Google's trend ratings was probably more due to internal workings of the Google search engine to stop referring Google image search results over to their competitor's site Flickr. I've seen this firsthand in my Flickr statistics. I used to get nearly 30% of my Flickr views from Google search users, now I get close to zero. Meanwhile my Google hits on Panoramio have skyrocketed to over 5 million views on a handful of images.
Facebook's ratings on Goolge Trends also pummeted, so the same engineered obsolescence is probably true for Google's referral to anything over on Facebook, since Facebook is now emerging as a competitor for Google's dominance over Internet eyeballs. Facebook's drop in Google's ratings is far too precipitous to be attributed to a simple familiarity with Facebook's name, as proposed in the article.
The existing fight between Yahoo and Google has expanded to include Facebook, as demonstrated by Facebook's announcement this week of an email service that aspires consolodate messages from all sources. Google is simply taking prudent steps to minimize the extent to which their site promotes their competitors.
The bottom line for photographers? Flickr will remain strong with Yahoo search users, Google-friendly sites will dominate Google searches, and Facebook is an island unto itself, albeit a really big island that wants to aggregate all your content.
For the moment Flickr is a site with robust sharing photo sharing features but a rabid paranoia of all things external, including standard social media platforms, so it's dangerous to try to interact around Flickr photos (post external links and they reportedly may delete your account suddenly and unexpectedly). So Facebook appears to be the only major player with a viable solution friendly to social media integration at the moment. Although their tools for photographers seem a little lacking at the moment, their pool of app developers are working diligently to solve that problem for them.
I have a lot of timelapse sequences that I haven't gotten around to processing yet, but here's one from sunrise this morning!
Timelapse videos are easy to create on your DSLR. There are many software packages which will facilitate the process, some better than others, but I'll describe the simple and relatively low cost workflow that I currently use. You'll need software on your PC which can convert a sequence of JPEG files to timelapse video. I use VirtualDub (free download) to create an AVI format video, then I use MPEG Streamclip (free download) to convert the huge .AVI file to a much smaller (albeit lower quality) MPEG-4 for online use. Here's the process from shooting to finished video:
Clean your camera sensor. It is hard enough to remove dust from one image... picture having to do that 300 times. Even copying dust removal from one image to the others, the data changes over time (from shot to shot), so it really won't work well across the whole sequence. It's far, far better to remove the dust up front. Clean your camera sensor!.
Put your camera on a sturdy tripod. Install a fully charged battery and a blank, freshly-formatted memory card which can handle several hundred images.
Compose your image expecting to lose some of the vertical information if you'll convert the sequence to HD video with a narrow HD shape (16:9 aspect ratio).
Manually focus your camera and switch off automatic focus. If you forget to do this, your camera will insert delays in the sequence as it hunts for focus, making the playback jerky at best. Worst case, your camera may lose focus and you'll end up with a whole lot of blurry images.
Make some test shots to determine best exposure. If practical, set exposure manually so it won't change from shot to shot and cause flashing (flicker) as different exposures come up during playback. If the light will change a lot during shooting (sunrise and sunset), you can use automatic exposure, but then the exposure during the video is artificially stagnant, and you'll need to to "deflicker" the timelapse to reduce flashing from frame to frame when producing the video. You will learn some very interesting and important things about your DLSR in this process! When your DSLR changes the exposure up or down 1/3 stop from shot to shot, simply "fixing" the exposure during editing will not result in similar-looking images from shot to shot! Even adjacent images taken a fraction of a second apart may have different white balance, and a slight exposure change also affects contrast, color saturation, and so on. Once you've gone through the process a few times your whole approach will change and you'll try to maximize quality and consistency in-camera, not during editing.
Shoot several hundred images in a row. You can make the timing from frame to frame consistent using an Intervalometer Trigger (external timer), or you can simply hit the shutter release over and over (perhaps use the display of the prior image on the camera rear LCD as your cue to trigger the next shot and keep them at a fairly consistent rate). Remember that your finished product will be 30 frames per second, so you'll need 300 images for each 10 seconds of video. I recommend shooting in RAW format so you can adjust the exposures during editing, especially if you shoot at sunrise or sunset where the light will change over the course of your timelapse.
Read your camera's files into your editing software and crop them to the 16:9 aspect ratio of HD video. Remember that you have far more resolution in your DSLR than you need for HD video, so you can perform a "digital zoom" and focus on only a portion of your original camera image. Software strong in batch editing such as Adobe Lightroom (free trial available) will enable you to apply a consistent crop, exposure adjustments and even spot removal across the entire sequence of images. You'll also want to impose one consistent white balance across the entire sequence. Some video processing software (such as Adobe Premiere I believe) will even let you specify a starting crop and a different finishing crop, then calculate a zoom and pan across your sequence of images.
Save your files in sRGB JPEG format at 1280 x 720 resolution for video to be used on sites like YouTube or Flickr that only allow smaller 720p HD format video, or save them at 1920 x 1080 resolution for 1080p video to be uploaded to sites such as Vimeo. If you'll use the VirtualDub software, it will want you to point to the first image in the sequence then look for a sequential numbered file, so if you used automatic exposure bracketing while shooting you may be editing and saving every third file, but you can rename them sequentially so VirtualDub can order them properly.
Read the sequence into VirtualDub. It's important to notice when trying to import them that in the dialog box where you're looking for the first file to select, the file format has a drop-down menu which enables you to specify that it should look for an image sequence in JPG format.
Add filters as desired, in the order that you want them to apply. For example, Virtualdub can crop and resize larger JPEGs, perform sharpening at the new lower resolution, and you can search for and install a third party "MSU deflicker" filter to improve image consistency from frame to frame across the whole video. Check your frame rate and for maximum quality (but shorter result) change the default 10 frames per second to 30.
Save the video in AVI format. That's a very high quality format, so it may save a file of a gigabyte or more! Enjoy this high quality file on your computer (or read it into video editing software to burn it to Blue-Ray DVD).
To create smaller files for online sharing, read your .AVI file into MPEG Streamclip. Save to MPEG-4, playing with quality vs. file size tradeoffs until the results are what you want.
Upload your results to your favorite video sharing site. That's it! It takes a little more planning to pull off well and a little more time to produce the finished result, but you can produce some amazing videos.
For more information on shooting timelapse sequences, I recommend browsing the discussion forums over on www.Timescapes.org.
Note: although Adobe Lightroom has a retail list price of $300 to buy, there's curently a beta release candidate version 3.3c on Adobe Labs that you can use for free until December 2010. Then you can download the free trial of the production version and use that for another 30 days, so you're set through the end of January at least. Beta users often get a discount on purchase, so if you do eventually choose to buy you may get a lower price.
The Leonid Meteor Shower tends to be one of the best meteor showers of the year. With the moon setting at 2:50am this morning, I made it out by around 3:30am this morning to check it out. It was doing really well, with rates as I watched appearing to be as high as a meteor per minute. Of course not all of these fell in the field of view of my cameras.
The meteor per hour rate should increase for the next night or two. The best viewing of the Leonids this year is during darker skies after moonset, which here on the West Coast will be 3:30-5:30am tomorrow morning (Nov 17) and 4:30-5:30am the following morning (Nov 18).
The first image here was taken on my Canon 40D: 30 seconds at f/2.0, ISO 1600 with a 24mm lens (38mm effective). The second image was taken on my Canon 5D mark II using a 16-35mm lens, using 30 second exposures at f/2.8, ISO 6400.
Panoramio.com is a site which provided simple mapping of photos on Google Earth. Google eventually bought the company and now displays those photos to Google Earth users, as well as Google Maps and to people performing an image search by keyword on Google.
The new Stats function on Panoramio shows 198,000 views for this photo via Google (Earth, Maps, search). Apparently my 400 photos there, roughly 280 of them mapped on Google Earth, have had 4.9 million views in total! No wonder I get contacted by people saying "I saw your photos on Panoramio, and..."
Just add "/stats" after the URL of any photo or user URL on Panoramio to see some usage details. If it's your own account, you also see the most common referring URLs, so you can see how people are finding your photos.
It turns out that my photos there have 157,129 views in the last 30 days. Some fraction of those viewers want a print or to join me on a field workshop.
Give the site a try to introduce your own photos to new fans. I always recommend uploading only low resolution copies of your files to minimize the possibility of theft, and of course only upload photos which you're willing to disclose the location for, since you'll be placing them by shooting position on a Google Earth map.
The wind was literally ripping water off the wavetops in Mono Lake on Sunday. Gusts up to 80MPH were reported in the Eastern Sierra valleys, with up to 145MPH forecasted on the ridges.
Fall colors will linger on primarily in wind-protected areas.
Fall colors peaked in many areas of the Eastern Sierra by last weekend. I enjoyed some of the most varied and saturated colors in years along the June Lake Loop on Friday. I returned on Sunday to find ample colors remaining, but the colors were faded and by the afternoon hevay winds had arrived and many of the trees were having their leaves blown off. Pockets of good color and some green leaves still to change do remain, and trees at lower elevations such as cottonwoods down by Bishop have a slightly later season, but many of the largest aspen forests have declined substantially after Sunday's storm.
If you want to try something completely different and have a lot of time on your hands, put on your widest lens and shoot a panorama which covers everything around you (including straight up and down). Run that through the free Hugin panorama software, and viola!
I have to warn you that it's a steep learning curve: it took me roughly 24 hours to produce this result (partially due to a nearly 1GB TIFF file initial result). Until I've done a few more the best option is to refer you to the many Flickr groups which have tutorials posted in the discussions: www.flickr.com/search/groups/?q=Hugin
Fall is one of my favorite times to shoot, as California's Sierra Nevada is decorated with colorful leaves: in the trees, on the ground, and alongside creeks and lakes. Aspen leaves are flat and shiny, and they point and rotate in virtually any direction, so in my approach a primary shooting consideration is the reduction of color-killing glare. Whether the lighting conditions are sunny or cloudy a circular polarizing filter, properly rotated to darken the image (the visual effect when you cancel out the glare), will enable the full color of the leaves to shine through and get captured by your camera's sensor. In fact, I drive around with polarized glasses on (in all seasons) so I'll recognize more potential shots. There can be issues with polarizers producing uneven results in solid blue skies if you're using wide to ultrawide lenses, so you may have to shoot a given scene with the polarizer on and off so you can select the best one later, and so you'll have the option of superimposing the two images and using Photoshop layer masking to use the Fall colors from one image and the blue sky from the other (more trouble than I currently go to, but a valid option nonetheless).
Optimizing your camera's capture of the color is only the first challenge however. Once you view your RAW file in your favorite editing program, you often find that the camera failed to capture adequate contrast and it assigned an automatic white balance which dramatically changed color as well.
When I see an opportunity to capture a nice reflection I may capture a quick shot of the reflection to have one before the light or water surface changes, but then I spend time walking around looking to "upgrade" and add a more interesting foreground like this one, where the logs provide "leading lines" whch further draw your eyes to the subject. It'd still be nicer with some colorful sunset clouds of course, but less than optimal weatehr is all the more reason to ensure that your compositions are strong and make your images work as well as possible, whatever the weather.
It's certainly well worth the few extra moments of forethought and exploration while you're shooting. Your percentage of strong images will go way up when your shooting process is more thoughtful and deliberate than see, point, and shoot. It all starts with your mindset and intention; when an opportunity presents itself you deliberately set out to make the shot, and reshoot it after making it better, resisting the urge to simply take one.
Sure there are details along the way that can help, but it all starts with your intention and your shooting process.
I'm not presenting this as a perfect shot by any means, but it's better than the others I shot immediately prior, and it was about as well as I could have done without wading around in ice cold water and muck to fine tune the composition (subject placement, lines, angles, etc) even further. After exploring this shot to this extent I simply decided at the time that with three lakes within a couple of hundreds yards of me, searching out other locations, foregrounds and results would be a better use of my limited time as the sun continued to set.
My next photography adventure was heading out to shoot the Perseid meteor showers. After a realtively weak showing at the first night at Mono Lake, in part due to the large amount of dust in the air there (great for sunrises, not so great for seeing stars or meteors rising over the eastern horizon), I drove down to the higher and clearer Ancient Bristlecone Pine Forest.
Even worse, someone who stopepd to help had overextended the jack, breaking the handle in the process. I had both cans of Punture Seal and an air compressor built into my minivan, but my jack was too short, so I shot the crescent moon descending behind some communication towers while we waited for an adequate jack. 
After several people stopped we eventually were able to get the truck down off its jack, and drive, inflate, drive, inflate our way to highway 168 before the leak in the tire got too bad to reinflate. Fortunately we had been able to flag down a flatbed tow truck on its way to another call, who would now be looking for her as he drove out. Jean urged me to get back up there and shoot, so I headed back up.
To make a long story short, I was off to a late start, but I found a shooting location which would not get lit up by late arrivals, and set my camera and intervalometer timer loose to capture hundreds of consecutive 30 second shots.
