Ehh, s'pose they're OK, if you like that sort of thing.
Elowah's a unique and spectacular shot (you are a patient man), but I really think you knocked the smaller landscape of Emerald Falls out of the park. Dang! Got me all riled up, and now I have to figure out how to shoehorn in a waterfall shoot this weekend. Dave
Very awesome captures Mark. I am wondering on your technique with moving the filter during the exposure? I've never heard of that before. Although it does look like the top left corner is a bit dimmed (cliff face is much darker there than nearer to the waterfall).
TK Geoff wrote:
Very awesome captures Mark. I am wondering on your technique with moving the filter during the exposure? I've never heard of that before. Although it does look like the top left corner is a bit dimmed (cliff face is much darker there than nearer to the waterfall).
It's a less common technique, but those who have learned it know how useful it is. Try it yourself and you'll see that you can make a line less obvious and decrease flaring. Also, if you have smaller filters, you can stack them with a polarizer or such without vignetting, through hand holding. I suspect the darker ULC may have been slightly grad related, but also naturally darker because the cliffs above overhang in that area. Additionally, it puts the emphasis back on the stronger features (sun and falls).
deadbolt wrote:
You've mentioned twice that moving the filter during the exposure can lessen the chance of a flare. Can you explain how that's possible.
Yes. It disperses the concentration of the direct lighting through the slightly uneven densities and textures of the glass. I'm no physicist, so I can't get into how this will effect the potential for flaring in every possible application, but I can assure you that if you try it, you will see less flare in most situations. Of course, you should still attempt to position the sun partially behind an object to further disperse the direct light through the glass.
Marc Adamus wrote:
Yes. It disperses the concentration of the direct lighting through the slightly uneven densities and textures of the glass. I'm no physicist, so I can't get into how this will effect the potential for flaring in every possible application, but I can assure you that if you try it, you will see less flare in most situations. Of course, you should still attempt to position the sun partially behind an object to further disperse the direct light through the glass.
Hmmmm, I may have to do an experiment or two because that doesn't make any sense to me at all. In fact, I can only see the potential for causing a flare by moving the filter during the exposure.
deadbolt wrote:
Hmmmm, I may have to do an experiment or two because that doesn't make any sense to me at all. In fact, I can only see the potential for causing a flare by moving the filter during the exposure.
Where did you hear or learn about this?
I'll save you the time. Here's your experiment. I went outside just now and took both of these shots, tripod mounted with a polarizer and 8-stop vari-ND attached to lenthen the exposure before slapping on a 3-stop GND. In image 1, below, the grad is not moved at all. In image 2, the grad is moved quickly during the exposure . Absolutely no cloning of flare was done in PS. I'll email you the RAW files to prove it also if you would like.
Edited by Marc Adamus on Apr 26, 2007 at 02:03 PM GMT
Edited by Marc Adamus on Apr 26, 2007 at 02:05 PM GMT
