10.15.2014 Subdued View

I mentioned yesterday that I had a spot in mind for sunrise near High Ledges.  This is the spot.  I was there in time, but I am not happy with the images.  For the most part, the sun looks awful.  I am not sure if it is me or my camera’s sensor, but the sun has formed some unattractive rays and my 24-70, like my 70-200, flares big time.  But I aimed away from the rising sun and this one is decent.  Unfortunately, the Canon sensor also creates awful pattern noise in the shadows and, as I didn’t quite hit the exposure, they had to be opened quite  bit and the noise reduction killed the detail in the foliage and foreground grasses.  This will never qualify as a wall hanger, but it is passable as a web shot.  I will visit here again and do a better job.

Dawn at The Patten.Patten-Dawn-101314-600WebI am hoping to get another shot this weekend while there is still color, but the forecast, which is always so reliable, is calling for winds and who knows what the sky will look like.

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About Steve Gingold

I am a Nature Photographer with interests in all things related. Water, flowers, insects and fungi are my main interests but I am happy to photograph wildlife and landscapes and all other of Nature's subjects.
This entry was posted in Autumn Color, Fall Foliage, Landscape, Nature Photography, Sunrise, Western Massachusetts and tagged , , , , , , , , . Bookmark the permalink.

13 Responses to 10.15.2014 Subdued View

  1. M. Hatzel says:

    Despite your critique, I like the scene. I had lens flare on some images I took on the weekend. I assumed it was the light–too bright, too low in the horizon at this time of year–but you imply there’s a way to overcome that, or do I misunderstand?

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    • Thanks. Most of your reasoning is mine as well,. The use of a zoom raises the chance for flare, dirt on the glass, a filter are culprits too. Sometimes placement of the sun helps.

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    • I forgot to add that I always allow for user error. So my implication was more that than anything else.
      But I will add, that I heard about a photographer who sticks his thumb over the sun in one frame to block the flare and then combines that with the flared image. I’ve tried it with no success. I imagine that, if it works, the situation would need to be very specific.

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      • M. Hatzel says:

        Everything you say makes sense–the zoom lens, and it was one of those dry, dusty days–thanks for sharing the insights, as I’m not sure if I’d put it all together on my own. I’ve seen night images that have been composited from several shots to manage the lights from passing cars. This seems a bit simpler than what you describe, but I thought the night image was tricky enough.

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  2. I think you’re too hard on yourself Steve. When I first booted my machine this morning and saw this, my first thought was, “Now there’s a beauty.” Flare is tough. I find that if I look for and am mindful of it, I can control it by shifting composition as I’ve got my eye to the finder. It’s tough to get rid of the stuff effectively while processing. Anyway, I really like this shot for its nice blend of muted pastels, in hues one doesn’t often see. The foreground looks slightly sugar-coated … had you had a frost at dawn? D

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    • Thanks, David. I try that method and it does work occasionally. You can see the flare floating to different positions and I try to put it where I can easily remove it. But that rarely works and I am often not happy with the composition I need in order to avoid.
      Very observant. Yes, we did have a frost in that spot. When I left home it was @40° and no sign of frost. The higher elevation and more rural setting dropped the temperature and it was slightly coated in the open fields.
      Occasionally, a flared image works as a black and white composition.

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  3. Over the years I’ve occasionally seen black and white prints by well-known photographers that showed a fair amount of grain from the 35mm negatives they were blown up from. That grain, usually an unavoidable consequence of the mechanics (and chemistry) of photography itself in those days, didn’t stop critics and curators from valuing those images for the photographers’ ways of seeing. Similarly, the sensors and lenses of our current cameras have their limitations, and while we try to overcome those limitations, perhaps we shouldn’t be too worried by a bit of noise in an otherwise successful image. Where to draw the line may be a harder question to answer.

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    • That line is where I have my problem, Steve. I look at my images as potential prints, so while I understand your point about grain vs. noise, I still would have a hard time printing this and seeing either all the famous Canon pattern noise or else very soft detail as a result of the aggressive noise reduction. Somewhere in the middle would be the target…aside, of course, from just doing a better job in the first place. And, unfortunately, grain was more acceptable in the days of film and noise is less so today.

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  4. While this pic is not to your satisfaction I think it is rather nice. I love the muted tones and the frost in the foreground. I understand that it is not the shot that you wanted but this one still has value.

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    • Thank you, Yvonne. I do like this more than I let on, I guess. But as I mentioned earlier…my end goal is always to produce an image worthy of being printed and, at the least, finding its way into my portfolio.
      All in all, the elements that make up this picture are satisfying, which makes the one part that is not frustrating. But it is all part of growth and learning….and what makes me want to get back out there and make another. 🙂

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  5. Pingback: 10.19.2014 Hawley Road in Ashfield, MA | Stephen Gingold Nature Photography Blog

  6. Oh, go on~ it’s beautiful! 🙂

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