Canon 5D Mark II
Canon 16-35L II @16mm
3.2 Second Exposure
f/22
ISO 100
After countless tens of miles scouting the Oregon Coast (maybe I should say hundreds) I recently found this very unique location. The tree (stump) according to theory, is about 2000 years old. Apparently, some scientists think that about 2000 years ago something cataclysmic happened that dropped a small portion of the Oregon Coast at least 25 feet straight down into the ocean. Land seemed to cover up the base of the tree(s) and a massive tsunami sheered them off entirely! They were covered up by ocean and it was a long standing legend of locals until last year (08) strong storm surf began to rid the underground dirt and sand and at lowest tides began to display these incredible tree stumps still rooted. To keep with the mysteriousness, awesome history and power of the place my client and I went for a maximum surrealistic approach.
A week ago, I led a 6 day private landscape photography workshop and I knew I wanted to bring my client to this spot for an attempt on some surreal impressionistic long exposure shots (sort of inspired by a combination of David Burdeny and Marc Adamus’s creative coastal work). The weather and tide were perfect and we both went straight to work (if you can actually call it WORK!) trading off comps and shots for about 2-3 hours, learning from each other (yes, I learn a lot from my clients too).
Logistics, development and technical notes:
Even though it looks like I may have gone completely nuts on the development of the image, it is actually a bit more straightforward than may appear.
The image is 3.2 seconds during a gloomy, very diffused (kind of glowing a little all over) afternoon sunset with frothy foamy tide all over the place. I got my tripod really low (about 1-2 feet off the ground) and used the "Live View" mode on the 5D Mark II (I am really starting to love that mode for certain shots!). As the tide went out I would run in and set the tripod up as close and fast as possible and shoot like an idiot with the cable release. Because of the substantial diffused light no ND grad was used or needed. I used a Hoya circular polarizer and f/22 because after a series of "test shots" I noticed that I liked the soft dreamy wave texture the best at the shutter speed this setup was producing (I usually like to gravitate around f/11 for top sharpness in producing giant gallery prints). Certainly a trade off in sharpness at f/22 but the scene is about 95% soft anyway, so mural sized prints is definitely within reach I think. I knew I did not need to bracket off wide because of the test shots (were to the right on the histogram) and the unusually not limited dynamic range, so I chose to bracket + and - 1 stop just for insurance purposes. Then for a long while I just repeated the process of running in, shooting until the waves were about to clobber me, running for my (and my rented equipments) life, and running in to shoot again... I admit I love the ocean power and danger zone! There is a wild streak in all Metternich’s (just ask my major mountain summiting father who, at 72, is soloing Shasta as I write this!)
Almost all work was done in ACR 5.3. Mainly to get the effect I was after I used a ton of "recovery" (about 80%) and very little "fill light." This is completely different than how I develop all my other work so far. I also took the mid-tone contrast adjustment ("clarity") to 100% globally (this did not make a big difference due to most tones being in the upper three-quarter tone area).
As a single image I took it into PS CS4 and did a slight horizon correcting crop, moderate shadows and highlights adjustment, another mid tone contrast tweak (a technique that is basically identical to “clarity” in ACR) a “contrast vignette” (instead of just darkening I also added a little contrast) simple healing brush speck removal, a dodge in a few spots to balance some tones, and then of course a B+W conversion, sizing and sharpening. The log was the only thing I sharpened. I used a twist on the popularized sharpening technique Marc A has written about.
I know it is in the surrealistic category and certainly not a purist kind of shot but I hope you enjoy it anyways!
Terrific mood....the technical decisions you made really paid off. I'm thinking I may want to see the blacks a little blacker but on the other hand I'm wondering if that wouldn't alter the mood you've created (with Mother Nature's help). I also like the upper center placement of the tree stump.
I see you're new to this forum; I look forward to seeing more of your work. You have some terrific images on your website. Well done.
Very nice Mark. This is a unique image and I love the simplicity. Lately, I find myself drawn to simple compositions and images that have a calming effect. This shot definitely accomplishes both.
Posted by Kosta Koeman on June 25, 2009 at 1:06 AM
Great mood, and unique (always refreshing) coastal shot. Nice job!
Very creative indeed and a well thought out image very nicely crafted. The waves are so soft, it almost looks like fog, but no matter... Either way it's very moody and evocative. Nice job.
Discussion
7 repliesCanon 16-35L II @16mm
3.2 Second Exposure
f/22
ISO 100
After countless tens of miles scouting the Oregon Coast (maybe I should say hundreds) I recently found this very unique location. The tree (stump) according to theory, is about 2000 years old. Apparently, some scientists think that about 2000 years ago something cataclysmic happened that dropped a small portion of the Oregon Coast at least 25 feet straight down into the ocean. Land seemed to cover up the base of the tree(s) and a massive tsunami sheered them off entirely! They were covered up by ocean and it was a long standing legend of locals until last year (08) strong storm surf began to rid the underground dirt and sand and at lowest tides began to display these incredible tree stumps still rooted. To keep with the mysteriousness, awesome history and power of the place my client and I went for a maximum surrealistic approach.
A week ago, I led a 6 day private landscape photography workshop and I knew I wanted to bring my client to this spot for an attempt on some surreal impressionistic long exposure shots (sort of inspired by a combination of David Burdeny and Marc Adamus’s creative coastal work). The weather and tide were perfect and we both went straight to work (if you can actually call it WORK!) trading off comps and shots for about 2-3 hours, learning from each other (yes, I learn a lot from my clients too).
Logistics, development and technical notes:
Even though it looks like I may have gone completely nuts on the development of the image, it is actually a bit more straightforward than may appear.
The image is 3.2 seconds during a gloomy, very diffused (kind of glowing a little all over) afternoon sunset with frothy foamy tide all over the place. I got my tripod really low (about 1-2 feet off the ground) and used the "Live View" mode on the 5D Mark II (I am really starting to love that mode for certain shots!). As the tide went out I would run in and set the tripod up as close and fast as possible and shoot like an idiot with the cable release. Because of the substantial diffused light no ND grad was used or needed. I used a Hoya circular polarizer and f/22 because after a series of "test shots" I noticed that I liked the soft dreamy wave texture the best at the shutter speed this setup was producing (I usually like to gravitate around f/11 for top sharpness in producing giant gallery prints). Certainly a trade off in sharpness at f/22 but the scene is about 95% soft anyway, so mural sized prints is definitely within reach I think. I knew I did not need to bracket off wide because of the test shots (were to the right on the histogram) and the unusually not limited dynamic range, so I chose to bracket + and - 1 stop just for insurance purposes. Then for a long while I just repeated the process of running in, shooting until the waves were about to clobber me, running for my (and my rented equipments) life, and running in to shoot again... I admit I love the ocean power and danger zone! There is a wild streak in all Metternich’s (just ask my major mountain summiting father who, at 72, is soloing Shasta as I write this!)
Almost all work was done in ACR 5.3. Mainly to get the effect I was after I used a ton of "recovery" (about 80%) and very little "fill light." This is completely different than how I develop all my other work so far. I also took the mid-tone contrast adjustment ("clarity") to 100% globally (this did not make a big difference due to most tones being in the upper three-quarter tone area).
As a single image I took it into PS CS4 and did a slight horizon correcting crop, moderate shadows and highlights adjustment, another mid tone contrast tweak (a technique that is basically identical to “clarity” in ACR) a “contrast vignette” (instead of just darkening I also added a little contrast) simple healing brush speck removal, a dodge in a few spots to balance some tones, and then of course a B+W conversion, sizing and sharpening. The log was the only thing I sharpened. I used a twist on the popularized sharpening technique Marc A has written about.
I know it is in the surrealistic category and certainly not a purist kind of shot
Mark Metternich
TowardsTheLightPhotography.com
I see you're new to this forum; I look forward to seeing more of your work. You have some terrific images on your website. Well done.