Seabrook glasses

Seabrook glasses
Originally uploaded by Michael Slear

Changing gears a bit, this was a studio shot done for Seabrook. The client request was for the etched crystal wine glasses on the beach with a rose. The initial attempt proved impossible to clearly show the light etched logo against light colored sand in a natural environment. Glass is typically done against white and black outlined and etched glass needs back light to be seen. The solution was in the studio and raising the subject up off the sand to allow us to control the light on the sand independent of the glass and etching. Simply by placing the glasses on a sheet of glass and raising 4 inches off the sand, this was accomplished. Something different!
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Michael Slear

When photographing a group of this size be thoughtful of your lighting. You could easily use a single front light, but that would give no ratio and thus no dimension. I elected to cross light 45 with 2 umbrellas to soften the light and reduced power on one side, the side away from the window banks to the right. Tip... Ask your subjects if they can see you and the lights. Also placed a light behind the group to provide separation. Most notably 3 of these gents weren't here and were placed later after allowing for their absence in the composition and individual shots were done later. Rich Gose @Http://803labs.com is the go to guy for composites and retouching of this sort to match shadows light and composition.

Dale and kayak

Dale and kayak
Originally uploaded by Michael Slear

Another shutter speed option is to leave the shutter open for longer periods and not move the camera or lens. As in this case of 1 to 4 secs at f8 on a tripod. Of course the subject needed to be still. Note the framing of the tree, and the placement of point of interest (kayak) in the right lower third. This is a typical compositional method employed by the masters from earliest of art. Imagine a tic tac toe grid and placing your item of interest at the intersections, your photos will be more pleasing to the eye. Hey if it works for Michaelangelo it’ll work for you. This was the conjunction (coming together) of Jupiter and Saturn (in the tree branches) a few years ago and appeared inside back cover of Astronomy magazine.
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Michael Slear

Whale

Whale
Originally uploaded by Michael Slear

Since shutter speed was an issue with beginning images, thought this image might be appropriate. Obviously we need to freeze this action, because a pan or zoom would render something unidentifiable, unlike a car which has wheels and recognizable features. Therefore not wanting to take a chance on missing this unusual opportunity, as well as the landscape. I selected a higher ASA or ISO to allow an exposure of 1/1000 of a second at f11, thereby keeping the background from being out of focus. Your normal digital cameras would try to expose this scene on a sunny day at 1/125 of a sec @ f8. When dealing with motion the accepted norm is to have the motion read left to right. Which of these do you like?

Racecar Sebring

Yesterdays pan shot is interpretive, this is an example of ‘freezing’ the the action yet blurring only the background. Again using a tripod and allowing subject to traverse the focal plane. However speed of car was obviously faster so shutter speed is necessarily faster. Final exposure 1/125 of a second at f11, with pan, no zoom. This was one image I chose for slearshotz.com as an example of technique. Check out other images @ slearshotz.com and if something suggests a question email me.
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Michael Slear

Nascar speed car

Nascar speed copy
Originally uploaded by Michael Slear

OK, for your interest and information, I will be sending out a pic a week just for fun and a bit of instruction, maybe to help in your photographic endeavors. Hope you enjoy! Any thoughts or suggestions or comments, are certainly welcome.

May as well start with a most recent outing...... Thought I would attempt some action at Nascar speed park to help create the feeling of speed and glamorize those pudgy little cars. The idea was to blur the background with slow shutter speed and use a background with color to enhance the motion. You need a tripod and the technique is to pan with the subject as it passes the focal plane of the camera. Although several attempts worked I felt this one better captured the experience or at least the perceived experience. Its reminiscent of an Ernst Hass image of an F-1 car. Note the subject is in the left third of image and has some place to go and is slightly diagonal to the frame further conveying the feeling of motion. Final exposure 1/6 of a second @f 22 pan and zoom employed.


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Michael Slear