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Tuesday, March 1, 2005

Australian Light


Light is everything. Recognizing the gift and knowing how to react makes extraordinary pictures of ordinary subjects.

Ordinary Made Extraordinary

The windmill, hot-air balloon, grape leaves and kangaroos are all grouped on the previous spread as examples of how exceptional light can transform commonplace subjects. That simple concept explains a lot of what I do as a professional photographer. The best case in point is the windmill in the Barossa Valley of South Australia, when the wind conspired with the setting sun to set up the perfect reflection. With another wind direction or at another time of day, the picture wouldn't exist.

Both the kangaroos and grape leaves benefit from the highlights of backlight at sunset. I prefer working at the end of the day because as the sun sets, the light is improving as you work. Thankfully, this is when kangaroos become active and, of course, why many drivers choose to outfit their vehicles with "roo-bars" Hitting one of these large marsupials is something like hitting a moose.

For some reason, hot-air balloon flights and picnics have become synonymous with wine country, in Australia and in California. I've done a lot of work out of balloons, so I know how surprising they can be when they sneak up on people on the ground. I was driving through the Hunter Valley ground fog when suddenly a UFO the size of a three-story building appeared over the highway. An 85C filter was already on my lens to add warmth to the early sunlight bouncing around in the airborne moisture, drowning out all other color.

Into The Sun

At sunset in the Barossa Valley, I looked for opportunities to shoot directly into the golden light. In order to achieve clear blacks in your photograph, you have to shoot with the sun just beyond the top of the picture frame or just outside the lens, while at the same time, shading the front lens element from extraneous flare. Generally, the manufacturer's built-in or add-on lens shade isn't enough. You can hold out your hand to block the sun with shorter, smaller lenses, but that can be awkward for a 300mm lens as used here. Aside from having an assistant stand 20 feet away with a hat or card, I've developed a variety of techniques for working solo. One is to position your car so that you sit on one side and shoot through the far window, using the roof to shade the lens. In this case, I found a nearby tree and used its branches to shade the lens. One of the fundamental rules of photography is to avoid shooting into the sun, but that's a rule fun to break.

Mixing Light

Often, I'll be standing with others, watching the sun slip into the sea. There's a collective sigh and group departure. Only a few others and myself will stay to the last light. If you wait for another 15 to 20 minutes, you see the light that's in this picture. Cunningham Pier at Geelong south of Melbourne is a historic and frequently photographed subject. The challenge here is working with multiple light sources and picking the time of day. The unusual color cast of the photography is the result of my using a CC30M magenta filter to neutralize the fluorescent lights on the pier. Normally, these lights would cast a green glow when using daylight film. A CC30M magenta renders these lights as a more pure white, but as fallout, the filter adds an element of magenta to the whole scene. This overall cast works well with a dusk scene, so the trade-off is worthwhile. As for timing, there are probably only a few minutes where the color in the sky, the ambient light on the surroundings and the lights of the illuminated structure make for a pleasing picture. Earlier, the man-made lights are overwhelmed by the ambient light. Later, when the sky has turned black and lost its color, the ambient light level is too low in comparison to the intensity of the man-made lights.

 


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