Canada Geese over the Strait of Georgia in British-Columbia, in 2016.
Night photography is not always planned and the photo above, taken late in the evening, was certainly not one I would have been able to take when I started as a photographer.
There was a superb sunset on the strait of Georgia, in British Columbia, and I had taken multiple pictures until late in the evening with my Canon 5DSR full-frame camera. The photography session was almost over.
Once I decided that it was time to pack-up for the night, I heard a flock of Canada Geese. They were flying in formation over the mountains to the west and were heading north in the darkness. In order to photograph those fast moving birds in the remaining light, drastically different settings would have to be made on the camera, and this, very rapidly.
The camera was equipped with a Canon 70-200 f2.8L IS II USM telephoto lens mounted on a tripod and facing west. It was on manual focus, the stabilizer was inactive and the ISO setting was very low. A ND graduated filter was already mounted on an adapter which was installed on the lens.
That meant dismantling the camera from the tripod, activating the automatic focus as well as the stabilizer, increasing the ISO, removing the ND graduated filter, limiting the aperture to insure sufficient shutter speed, composing the photo and taking few rapid shots before the geese were too far away.
Few seconds later, those birds and the landscape were becoming another souvenir of a beautiful summer holiday spent in British Columbia.
For more articles in the category « Photos of Canada », click on the following link : Photos of Canada
Merchant navy vessel in the Juan de Fuca Strait near Victoria (2016)
Photographers know that the most interesting hours of the day are either early in the morning or late at night, but before nighttime. These periods are ideal for subtle colors and very atmospheric shots.
The Vancouver Island coast offers absolutely everything to attract many categories of photographers: the wildlife, the mist over water bodies in the morning or late at night and the mountains that are visible almost everywhere.
Travelling through British Columbia, I noticed the great number of merchant navy vessels passing through the Juan de Fuca Strait. But to try to photograph them during daytime would only have given average pictures. Waking up early to get the right picture is never easy, but it always gives interesting results.
The only problem with regards to ship photography is that the latter often navigate quite far from the photographer, thus becoming tiny uninteresting dots on a picture. However, the Canon 5DSR camera and its 50.6 megapixels full-frame sensor solve that problem: new experiments are then possible . The scenery above was shot from a beach in Victoria, very early in the morning. It was mandatory to ensure of the total immobility of the camera since some serious cropping would be needed later on in order to significantly enlarge the ship. The slightest vibration would have been amplified through enlargment and the picture would have been useless.
Here is the method that was used: the ISO was set on 250, the tripod planted on the beach (but not in the soft sand part where the tripod could have moved a little during the photo session). Moreover, the remote trigger was used, as well as the mirror lock-up function. In order to achieve an optimal focus, the latter was done manually using Liveview with a 16X enlargment.
A Canon 70-200 f2.8L IS II USM telephoto lens was installed on the camera, with a 200mm focal setting. A ND graduated filter was installed to compensate for the rising sun’s brighter light behind the mountains. Being early on the beach also allowed for a minimal wind speed, limiting even more any tripod vibrations. I tried several shots and decided to keep the one with a bird in the scenery, so as to add a touch of life to the scenery.
For other ship photos posted on my website, click on the following link:
Quebec City in winter, in the Cap-au-Diable area (2016)
The picture above was taken in December 2016 at Cap-au-Diable, in Quebec City, with a Canon 5DSR full-frame camera equipped with a Canon EF 24-70mm f/2.8L US telephoto lens. A polarizing filter was not really needed here due to the soft light and the sun being in line with the lens. The exposure was still corrected by +1/3.
At this time of the year, the temperature is not too cold for the photographer’s bare hands and the light intensity is ideal throughout the day. The temperature hovering around 0 °C favors wet snow showers. This snow lightly sticks to the tree branches and, as long as the wind does not increase too much, it is possible to take interesting winter pictures. But it is necessary to act quickly
For the photo above, I was able to profit from a St-Lawrence Seaway that was still unfrozen, which allowed to capture the winter sun reflection. I had to proceed rapidly since there were clouds moving from the west, visible to the right of the picture. One minute later, the sun and its reflection were no longer visible.
The photos below were taken during in the same park.
Parc du Cap-au-Diable, Quebec City (2016)
A house in the Cap-au-Diable park, Quebec City (2016)
For other photos on the province of Quebec and also Quebec City, click on the following links from my blog:
The photography book « Full Frame », by David Noton, was written in 2010 but the content is still totally pertinent today. It’s possibly the best photography book I’ve ever read. The images are fantastic and the text is loaded with practical and accessible information.
Photography book “Full Frame” by David Noton
The author is known as one of the best landscape photographer in the world. Every page of his book is divided in three sections: before, during, after. This means that you read about everything that the author had to deal with as he travelled around the world with his wife to capture landscapes: the preparation, technique, priorities, obstacles, successes, etc.
All along the book, I had the feeling that a friend was writing me since the text is written with a light and humoristic approach in mind, and certainly without pretend. Here are some of his remarks and advices:
“Luck is where preparation and opportunity combine.” (p.38) This certainly applies to everything we do in life.
“Stick with the full frame quality and crop as when required, keeping all the [sensor’s megapixels] information in reserve”.
“Sometimes a new lens or format will serve as a catalyst for a whole new way of looking. It’s all part of the evolutionary process.” (p.64)
Sharpen all digital images. Pictures are made of square pixels and need microadjustments.
To choose among your interesting similar photos which one is the best, start with a very good one and compare it with each other photo, one at a time, throwing away the ones that are inferior. You will save a lot of time.
A bit of blinking in the highlights is not terrible since RAW files can easily be adjusted. Don’t forget that the camera’s monitor shows an histogram adjusted for JPEG files.
Use a grad filter to control the contrasts only, not to add mood or create an artificial contrast.
There is no need to always show the tops of mountains.
“The best pictures are the simplest. Composition is the art of knowing what to leave out.” (p.71)
“Be flexible and strive to extract the most from seemingly adverse conditions.” (p.77)
“For wide angle views on the world, a full-frame sensor is imperative.” (p.93)
Back cover of the photography book “Full Frame” by David Noton
“Scout the location, analyse the options in different lighting situations, previsualize the image, plan the shoot then keep returning until it’s nailed.” (p.113)
“Location finding is everything; the photography is the easy bit.” (p.125)
“Don’t be afraid of “blinkies” in the brightest part of the sky where the sun shines through […]. We don’t expect to see detail there.” (p.138)
“Using movement is an essential technique in a photographer’s repertoire.” (p.143)
“The classic, golden rule of thirds is a good starting point, but it’s only a guideline to ignore at will.” (p.149)
“A camera’s sensor is not a linear device so the right half of the histogram contains far more information than the left. Those apparently overexposed images, when processed with the brightness brought back to the desired density, will have richer tones and less noise than a frame exposed to the left.” (p.153)
“We photographers can only continue to improve if we keep pushing ourselves.” (p.187)
Autumn colors in the Jacques-Cartier National Park
The picture above was taken at the Jacques-Cartier National Park, in the Province of Québec, in 2016 with a Canon 5DSR full-frame camera. You can find this exact location by heading towards the “kilometer 10” inside the park, immediately behind the service center.
Even if the autumn colors were beautiful and would have deserved a close-up, there was also a possibility to include an interesting foreground. The natural shapes and alternance between the strips of land (1-3-5) [see the picture below] mixed with the water and sky (2-4-6) helped form a virtual diagonal that was used as a lead-in line until the eye meets the superior right corner of the photo.
The rule of thirds was easy to apply here and no compromise was necessary. I decide to cut most of the sky since the time of the day was not ideal as the light was too bright. But I also wanted to give precedence to the geometric shapes of the foreground. The skyline was relocated in the first third of the scenery, immediately at the base of the mountains. The main interest of the picture, which was the colorful forest, now rested in the upper right portion of the frame.
Jacques-Cartier National Park in the Province of Québec and photography theory
For other photos on the province of Quebec and also Quebec City, click on the following links from my blog:
This photo was taken in Stoneham, in Québec, during the autumn 2016. I considered it an interesting scene due to the trees and all the branches that seem to cut the photo in multiple parts, at the same time as the colour variations of the maple leaves give the impression of an explosion from the center of the picture.
The scene was taken using a Canon 5DSR full-frame camera equipped with a fixed Canon 14mm 2.8L telephoto lens.
Click on the link for more autumn photos on my blog.
Gruyères and the Moleson in the background, Switzerland 2013
The city of Gruyères is located in the Prealps, in the Friburg County in Switzerland. It is a very charming small medieval town where cars are forbidden (the white van shown in the picture above is only used for morning delivery). In the city, one can visit the Gruyères Castle (Château de Gruyères), the H.R.Giger Museum (creator of the “Alien” in the movie Alien), the Tibet Museum, a cheese factory and boutiques. There are also some restaurants.
In the picture above, shot with a Canon 5D MKII, it is possible to see the Moléson in the background, a mountain that rises only 512 metres above the surrounding terrain but is still at more than 2000 meters above sea level. It is a tourist attraction that should not be neglected since it is very well equipped for all types of visitors, with a funicular and cable car. The visitors also have access to very interesting walking paths, for all ages and experiences.
Moleson cable car, in the Gruyeres region, Switzerland 2013
When you use a cable car and do not see where it is leading due to the presence of clouds, you have to trust human engineering. But we are in Switzerland, so it should be all right!
The Moleson cable car, Switzerland 2013
The Moléson summit offers superb views. The small cumuliform clouds visible in the morning around the mountain progressively lift up due to daytime heating and eventually become beautiful cumulus clouds that add life to any pictures.
Moleson summit in the clouds, Switzerland 2013
Once on top of the Moléson, it is possible to use a modern metal stairway to gain even more height and access a platform allowing an unobstructed panoramic view. The picture above was taken with a Canon EF 16-35mm f2.8L II USM wide-angle zoom lens equipped with a polarizing filter.
Metal stairs leading to an observation post on top of the Moleson, Gruyeres region, Switzerland 2013
When ready to go down the mountain, the visitor has two choices: travel with the cable car and funicular he used when coming up, or slowly walk along an easily accessible path through beautiful green landscapes. The more experienced trekkers might decide to walk along the crests of surrounding mountains. We chose to walk on paths covered with flowers.
Path on the Moleson, Switzerland 2013
Back to Gruyères, a visit of the Château de Gruyères and both museums is a must, as well as a tour of the cheese factory. You might want to spend some time in the boutiques too and try the local restaurants. It is also the moment to take a few pictures…
Inside the Gruyeres medieval city, Switzerland, 2013
The old architecture of the buildings in Gruyères as well as the neighbouring countryside allow for very interesting photographic compositions. A well-known photography technique consists in using an opening in a building and using it as a second frame (a frame within a frame). I made sure that the background was clear enough to improve the visual effect. An aperture around 16 allowed for an appropriate depth-of-field.
Spiraling stairs in the Gruyeres Castle, Switzerland 2013
The picture above shows a spiraling staircase inside the Château de Gruyères. I can barely imagine what the results would have been if I had had access to the new Canon 11-24mm wide-angle lens. But nonetheless, the Canon EF 16-35mm f2.8L II USM zoom lens did a good job.
The beauty of the full frame sensor mounted on the Canon 5D MKII DSLR is that a wide-angle shot taken at a 16mm focal will stay at 16mm while with a smaller sensor, like the APS-C, the photographer is facing a conversion factor of 1.5 or 1.6X, which transforms the 16-35mm wide-angle into a 24-52mm, in the best of cases. The APS-C sensor is interesting when used with a telephoto lens but a bit less when comes the time to take wide-angle shots.
The picture below presents the Château de Gruyères seen from a neighbouring field.
Gruyeres old architecture, Switzerland 2013
As the sun was setting down, I tried a shot from inside the castle. It was interesting to see the two little boys standing up alongside the wall and admiring the sunset. At the same time, it was possible to see the Moléson in the distance, its summit hidden in the clouds.
Due to the strong light contrasts, it was necessary to use a Hi-Tech ND graduated filter installed on my Canon 16-35mm wide-angle zoom lens. The Digital SLR Photography magazine, in one of its recent editions, made a comparison between ND grad filters and indicated that the Hi-Tech filter had a slight magenta coloration instead of a neutral grey. I think it is easily visible in the picture below. The photo could have been corrected with Photoshop but I thought of keeping it as it was since the scenery looked somewhat unreal already.
View from the Gruyeres Castle and the Moleson, Switzerland 2013
Once the sun was below the horizon, the more subtle colours gave a totally new look to the countryside. On the picture below, it is possible to see on the right a small path that a visitor can take to head down to the nearby village.
Gruyeres region in the sunset, Switzerland 2013
All the sceneries are not that easy to capture and it is sometimes necessary to use HDR photography to extend the dynamic range and take care of extreme light contrasts. The photo below needed five different exposures that were subsequently processed with the Photomatix image editing software. Useless to say, it was necessary to use the mirror lock-up function, a tripod and a remote control release.
View from the Gruyères Castle, Switzerland, in HDR 2013
Here is, as the final picture, an idea of what is waiting for you at the H.R. Giger Museum. If there is a strange but very interesting museum, it is this one.
Artwork in front of the H R Giger Museum, Gruyeres, Switzerland 2013
Other pictures of Europe and around the world will be posted in the coming months…
« A hymn to beauty, this is what photography is for me »
Cover of Matthieu Ricard’s book “An Ode to Beauty”
Matthieu Ricard is a Buddhist monk who spent over forty-five years in the Himalayas. Throughout the years, he has produced many photography books. He is a man of immense talent and what he produces is of a very high quality. His new book “An ode to beauty” is no exception.
For thirty years, he photographed with two Nikon FM2 cameras and then switched to a Canon EOS-1Ds and a Canon EOS-5D. The Canon lenses used for his pictures range from a 12-24mm zoom to 100-400 mm. Landscape photography requires that he adds graduated neutral density filters to his lenses in order to reduce the contrasts between sky and earth.
When Matthieu Ricard comes back from a trip, he says: “I work on the images so that I can recapture the feeling, the emotion, the colors and the light that I saw with my own eyes”.
Like many experienced photographers, the author studies the work of other photographers in order to always learn something new. About Matthieu Ricard’s images, Henri Cartier-Bresson wrote: “Matthieu’s camera and his spiritual life are one, and from this spring these images, fleeting and eternal”.
“An ode to beauty” is made of human situations, facial expressions and the changing lights of landscapes. The composition is well thought through.
Matthieu Ricard is clearly an expert: technically demanding photos are very well executed. There are, on his images, numerous magical moments, where the photographer had only a very short time to react. It is the case, for example, of a photo where the sun rays hit an ideal part of a mountain chain at the same time as a rainbow colors the dark clouds in the background.
It is a unique book, made of exceptional images reproduced with great care. Most images demand a lengthy contemplation. There is no “Photoshop” effect and saturated colors here: everything is perfectly balanced.
Thanks to this book, the reader can look at the planet Earth in a very different way.
