I can hear these words echo in my mind, “The Moon carries tremendous visual weight.” My photography mentors remind me to consider this when I compose a frame with the moon. I am listening. The viewer’s eye is immediately drawn to the moon. To create balance in the composition, the other side of the frame needs some “weight.” That’s where the Grand Teton comes in, the high peak on the right.
This image also features a contrast of cool and warm tones. The blue and grey in the sky and mountaintops contrast the warmly lit fall color in the trees and grasses in the valley. Good morning, Jackson Hole! I’m enjoying a deep breath of your fresh air and cool Fall temperatures. It’s time for a warm cup of coffee.
Landscape photographers understand that shooting directly into the sun, even at sunset, creates such extremes of brightness and darkness that it is difficult to make a successful image. The foreground falls into shadow, while the sky becomes impossibly bright. What to do?
Photographers planning to shoot sunset in Grand Teton National Park face this challenge every day, because all views of the mountain range face west. While today’s digital software can help brighten the shadows and darken the highlights, it ain’t easy!
One approach is to wait until the critical moment when the sun touches the edge of a tree or a mountain in the foreground. If you set your camera manually to a small f-stop such as f/22, the sunlight will refract and create a brilliant sunstar. I like this technique, as it gives punch to the scene.
Reflections in the beaver pond as well as the V shape of the trees that flank the mountains give this image a peaceful symmetry.
After this capture, I packed up my tripod and camera quickly, for soon it would be dark.
High in the sky we see the sunlight break the darkness, turning night into day, while fog lingers under the canopy of these trees, protecting the cool ground with a soft blanket of dampness and shadow.
Yesterday in a Florida swamp, I recognized an opportunity to try a new style (new to me): Intentional Camera Movement (ICM). It was late afternoon, and the sun was behind me as I gazed across a pond at a placid scene of trees and brush reflected in the still pond. Admiring the sunlight on the vertical lines of the trees, elongated into their reflections, I suddenly realized that I could make an interesting graphic by moving the camera vertically while exposing as long as possible.
Since I had been working on shooting a bird and some otters across the pond, I had the equivalent* of a 300mm f/ 2.8 lens mounted on my D800. This was a good choice to switch to ICM, because, as you may know, it is pretty easy to blur a shot made with this lens if you are shooting handheld! I set my camera aperture as small as possible (f/32) in order to generate a slow the shutter speed (1/6th second) in Aperture Priority mode. This would set the shutter to be open long enough to create a vertical blur as I moved the camera. I recalled that I should begin the camera movement before pressing the shutter and keep an even movement speed. I experimented with about 6 images, and of course each one was a little different.
This one was my favorite for a few reasons: 1) Camera movement was truly vertical so the vertical lines of the trees are emphasized. 2) I like the color palette of blue, green, white, yellow and brown. 3) I like the tonal contrast and the mirror effect created by the shoreline. 4) My overall impression is that I would not tire of looking at this image. I think it would look cool in a home or office — especially as a metal print. Do you?
*Nikon 70-200mm lens with Nikon 1.5 teleconverter.