Twice now, I’ve visited Cuba, and twice I’ve spent some time in Trinidad.  It’s a beautiful colonial town in central Cuba, just a couple miles from the coast.  There’s a church on the hill, cobblestones on the streets, and picturesque landscapes and architecture around every corner.

On my first visit, I spent a lot of time moving around the central plaza with my 35mm camera.  There’s a wonderful bell and clock tower at one corner and I was continually trying to find the best angle on it.  I eventually found one; it’s now framed and hanging on the wall in my home office.

Four years later, my camera had changed, but the view in Trinidad was mostly the same.  I amused myself by trying to find the exact spot where I’d taken the first picture, then set out to frame something new.

There’s a museum in the base of the bell tower — something I’m not sure I was aware of on the first trip.  My companions and I paid a few dollars to go inside, hoping we’d get a chance to climb the tower.  Despite the rickety stairs and often a lack of handrails, tourists are, indeed allowed up.  Not all the way, though; the top room with the clock was barred with a trapdoor and a hefty padlock.

We stepped out onto the museum roof and paced around the edges.  From there we had a wonderful view of the terra cotta tile rooftops and the lush green countryside.  (Not to mention an ancient, rusty air raid siren.)  Walking back down the stairs, I stopped at the oval window we’d skipped on the way up.  I had to climb half into the cement ring to take an unobstructed picture of the courtyard below.  When I climbed back out, I took another picture to remember what the window was like.

I like the cement window frame better than the original.  It gives the viewer an interesting perspective, and in combination with the other photo I took years before, tells an interesting story.  Looking back and forth between them, I can identify the exact location where I took each picture!

Canon Powershot s30
Date: 27 December 2003
Focal Length: 8.6mm
Shutter: 1/1000 second
Aperture: F/3.2
Photoshop: Adjusted levels slightly to deepen the black edging

A little more than a year ago, our department decided to spruce up the office with an art project.  We decided on collaborative Jackson Pollock style painting.

Our canvas, once stretched, turned out to be around 6′ x 6′.  One fine fall day, we took it out on the deck, laid it down on a plastic drop-cloth, and cracked open many undesired cans of paint.

I didn’t actually take part in the painting; I was there with my camera, documenting the process.  It was a slow start.  As people experimented with the paint — dripping it, pouring it, splattering it — the white background disappeared slowly.  Too slowly, in fact.  There were some great early splatter patterns that were covered over completely as the paint was layered on enough to cover the canvas from frame-edge to frame-edge.  At one point, I worried that the whole Pollockness of the painting would be ruined as the most enthusiastic painters used their hands to smear the colors into an almost uniform shade of greenish-brown.  I shouldn’t have worried.  They were simply coating the canvas for the next few dozen layers of paint.

Most of the shots I took that day are dynamic:  People flinging and spattering paint, posing with dripping orange hands.  Surprisingly, my favorite shots happened to be of the artwork itself.  At the end of the session, before the paint was dry, I crawled all around the canvas, trying to find interesting angles from which to take a picture.

In choosing the photo for my website, I grudgingly eliminated three others that I really liked.  One had amazing glossy highlights that showcased the texture of the layered paint.  Another had great depth of field.  Two of them showed the sheer scale of the painting — the loops, squiggles, and drips are revealed to be quite complex.  But this one…  This one doesn’t have a lot of texture, almost no highlights, and just a bit of depth.  This one is about the color.

It only took a few days for the painting to dry, but we didn’t hang it up until months later.  I always felt a bit guilty about that; it was the longevity of my Post-It Note idea that monopolized the wall space…

Canon Digital Rebel XT
Date: 23 September 2005
Focal Length: 55mm
Shutter: 1/200 second
Aperture: F/5.6
ISO: 400
Photoshop: Negligible Auto Color adjustment

My grandparents have a cottage on the beach in Nags Head, North Carolina.  It’s one of the places I think of as “home,” and I try to get back there as often as possible.  Nags Head has grown up a lot in my lifetime — it’s actually quite crowded in the summer now — but photogenic scenes still abound.

As a kid, I was always given a downstairs or back room in the cottage.  On the last couple visits, however, I was given what I still consider to be an “adult” bedroom.  (Not because I was all grown up; I’m still in the third generation down on the totem pole!  I was simply the oldest family member visiting at the time.)  Other than my grandparents’ room, this is the only room facing the ocean.  At night you can open the windows and let the salt air and surf lull you to sleep.  Early in the morning, the sunlight pours into the room as the sun climbs up out of the ocean.

I’m not a morning person.  Given the choice, I’ll take my camera out of its bag for the latter golden hour.  I spent most of my last Nags Head vacation reading in the hammock.  I never built up the motivation to go out picture hunting.  But on my last morning there, that warm, bright sunlight came streaming in the windows and pulled me out of bed.  One last walk in the sand before heading off to the airport.

The Nags Head pier is only about a half mile down the beach from the cottage.  On a morning with a calm, featureless ocean and an empty expanse of sand, it was the only obvious photography subject.  I walked up to it, under it, right beside it, trying to find the best way to fit both it and the morning sun into frame.  I took about a dozen photos, varying the exposure and switching between portrait and landscape shots.  This was my favorite.

I like that the guy casting his pole creates a little bit of action for the scene (in the 8 MegaPixel original, you can just barely make out the fishing line.)  I like the small details, like the seagulls waiting on the rail, and the guy on the end of the pier with his pole pointed straight down.  Often, digital cameras add weird color gradients to pictures of the sun.  I love how the red and yellow rings came through on this one.

There was only one thing I didn’t like, and it was easily removed.  There used a small smudge in the sky above the cast fishing line.  I’m almost positive it couldn’t have been a fingerprint on the lens — the photos taken before and after this one are clean.  Perhaps it was a small bug, passing in front of my camera, I don’t know.  At any rate, Photoshop’s healing brush made quick work of it.  I also used Photoshop’s Level tools to darken the shadows just a tad.  It gives the photo just a little bit more of that silhouette feel.

Canon Digital Rebel XT
Date: 30 June 2006; 6:20am
Focal Length: 55mm
Shutter: 1/800 second
Aperture: F/5.6
Photoshop:  Levels adjustment, removed small, blurry smudge in sky

Jeez, I just realized that all the photos I’ve posted so far have some sort of body of water in them!  Well, except Moscow Thunderstorms, but even in that one you could argue that rain was in the background.  I gotta find a dry picture next week.

The day my Canon XT was scheduled to arrive was the day we planned to leave for a 3-day weekend up Taku River.  UPS opted not to leave the package at our door that afternoon, so our only recourse was to try to pick it up sometime after the truck returned to the warehouse.  I managed to get my hands on it with barely an hour left before we had to leave.  The XT’s proprietary batteries were the same ones used in the Canon s-series, so I borrowed a charger from a friend who owned an s70 just so I could begin charging all three batteries.  Within 45 minutes I had at least a partial charge on each.  I had no idea if they’d last through the weekend and the cabin we were going to had no electricity.

That weekend, I mostly shot on auto as I learned how to use the new camera.  Two of the days were grey and overcast, but Saturday was beautiful.  I woke up at 5:30am for some reason, and looked out the window.  The sun was just rising over the mountains behind the cabin, and only a few wisps of clouds painted the sky.  The air was still and the river was so flat that the reflections in it were almost mirror quality.  I crept downstairs and out the door, hoping that I could catch a few “golden hour” photos.

While everyone else slept, I stood on the banks of the Taku and experimented with my new camera’s settings.  I also peed behind a tree.

Often, when I’m looking through my photos, I pass by pictures like this with barely a second thought.  I think it’s because landscapes like this are common where I live (at least when it’s not raining), and I don’t appreciate them as much as the exotic (to me) landscapes I see while on vacation.  I’m thinking about my reaction to the HAVO Lights picture I posted last week.  Do I enjoy that photo because it’s a good photo, or do my memories of the evening tint my appreciation of it?  The opposite may be true here.  Does this picture capture something special or is it just another blasé Southeast Alaska composition?  I don’t know if I can trust own opinion.

Who cares?  I can enjoy this picture for its instructional merits.  This was one of the first photos I took that pushed the XT’s exposure latitude to its extremes.  I like that the snow on the mountains maintains almost all of its color information, while the deep dark tree line just barely has any detail left.  In the original, the log jutting from the river was inky, too, but in my Photoshop experimentations, I decided to apply a curves-based gradient from the bottom edge of the image to the shoreline.  In effect, this lightened the lower half of the image – pulling out some detail in that log – without overexposing the snowy highlights above.

I also applied warming filter (85) after the fact.  It added just a hint of color that I (romantically, perhaps) think was there at sunrise, anyway.  Besides, with the exception of the sunlit trees on the left, the domination of blue and whites made for a chilly photograph.  It seemed an injustice to such a warm, Memorial Day weekend. 

Oh, and those batteries?  I shouldn’t have worried.  Since the XT is an SLR, it hardly uses any juice.  Compared to the point-and-shoot s30, which uses its LCD screen for practically everything, it seems like I hardly ever have to recharge.

Canon Digital Rebel XT
Date: 28 May 2005; 5:31am
Focal Length: 55mm
Shutter: 1/400 second
Aperture: F/14
ISO: 400
Photoshop: Applied Warming Filter #85, brightened lower half of image.

Click “more” for a comparison of the final image to the original.

Read the rest of this entry »

The great tourist myth of Hawaii, perpetrated by all the television travel documentaries, is that you’ll see rivers of flowing lava.  Indeed you will, if you go to any of the museums with video display terminals.  Apparently, the really fantastic displays occur, oh, every ten or twenty years.  And when they do, cars are piled up for miles and miles as even the locals cram closer for a look.

That’s not to say that you won’t get a chance to see some geothermal activity if you visit.  A heli-tour over Kilauea might give you a peek down into its active crater.  Sulfur steam vents abound in Hawaii’s Volcano National park.  And if it’s the frozen black lava you’re after…  Well!  The Big Island’s got more of that than you can imagine.

One of my favorite nights on Kona was spent watching lava spill into the sea.  The active craters of Kilauea are miles inland, but underground lava tubes transport a steady stream of molten rock to the sea.  Where it meets the water, a huge cloud of steam billows upward.  Due to a terrible parking space, we had to hurry to get out onto the lava field before dark.

Canon Digital Rebel XT
Date: 16 August 2005
Focal Length: 48mm
Shutter: 30 seconds
Aperture: F/4.5
Photoshop: Cropped, minor cloning away of lens artifacts,
somewhat extensive use of burn/dodge tools (never exceeding 30%)

Read the rest of this entry »