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Photo Commentary

Photo Commentary #19: Long Exposure Water Motion Blur 150 150 varunvisuals

Photo Commentary #19: Long Exposure Water Motion Blur
This photo, taken by James Wheeler, is a perfect example of using long exposure photography to achieve a smooth water surface and increase reflections.
This photo, taken by James Wheeler, is a perfect example of using long exposure photography to achieve a smooth water surface and increase reflections.
Throughout numerous of my posts I have touched on the topic of long exposure techniques within photography – today I will continue along this topic.
 
As we know, long exposure techniques can be applied in a variety of circumstances such as astrophotography and timelapses. Another instance is motion smoothing.
 
Two examples of this, from prior posts, are the silky waterfall and moving cloud images. This photo illustrates another scenario by which rough bodies of water are practically transformed into what looks like delicate glass. Just as how a waterfall can be smoothed out, so can waves and ripples. The extended time with which light is allowed to reflect off a subject and into the camera lens causes a blurring effect. In other words, glass-like bodies of water = blurry waves; but obviously the former is a much more elegant description 😉
 
And of course, to connect this with my last post, the “blurry waves” help in accentuating the beautiful reflections that may otherwise be hard to see (similar to how its hard to see your own reflection in a puddle with ripples on the side of a street. Lovely work James!
 
Photographer: James Wheeler
Photo Commentary #18: Vantage Points 150 150 varunvisuals

Photo Commentary #18: Vantage Points
City at Sunset From a High Vantage Point

This photo taken by Sergio Souza is a great example of utilizing high vantage points to increase detail within your images.

   

It can hardly be argued that images from tall vantage points are stunning to the highest degree (pun intended). The reasons why are perhaps the most obvious – you can simply see more.
 
Furthermore, with the constantly evolving technology we have today, the detail that can be captured is simply astonishing. For instance, you can tell that this image is long exposure due to the light trails of the ant-sized cars below. You can also see what time the photo was taken simply by looking at the clock on the building. Of course, the sunset and its compatibility with the orange streetlights below is the icing on the cake. What intrigues you the most about Sergio’s fantastic image?
 
Photographer: Sergio Souza
Photo Commentary #17: Masking and Astrophotography Part II 683 1024 varunvisuals

Photo Commentary #17: Masking and Astrophotography Part II
This photo taken by Dominika Roseclay serves as a great example of one of the situations in which a photographer may have to rely on masking in order to display the “best of two worlds” – a well lighted urban scene as well as a clear starry night sky Note: it is just as possible to find small towns with no light pollution, thereby allowing for such an image to be taken without the use of any masking technique – I cannot say with certainty how the photo was truly captured. Just like any other photograph or piece of art, only the artist behind it knows the whole process of how it was made. I am only stating one method through which the photo COULD be made.
If you have been following along, you will know that my last commentary posed a question asking you to identify three different topics I had already spoken about, within that image.
 
Here is the answer: reflecting surfaces, astrophotography, and masking. One person had correctly commented on the underlying conundrum – how do you get to see clear stars above a highly light polluted area, such as a city (if you remember, astrophotography can only be performed in areas with little to no light pollution)? Well here’s the thing…you can’t. Not really that is (more on this in a bit). So how was it done?
 
The starry sky was likely photographed in an area with low light pollution using proper astrophotography techniques while the city was captured in another location. Using masking (once again, this is explained in an earlier post), the starry sky would replace the typical starless sky seen over city’s as night. The reflecting surface of the water added to that image as well.
 
This photo may also abide by similar techniques (excluding the water of course). However, it is definitely possible for such a photo to be taken in a location that does not require any masking. That is, a small town with enough light to make the structures as visible and eye-catching as a city, but not enough light to pollute or hide the starry sky above. Regardless of which avenue was taken, Dominika definitely nailed this shot!
 
Photo Commentary #16: Masking and Astrophotography Part I 1024 536 varunvisuals

Photo Commentary #16: Masking and Astrophotography Part I
Starry Night Sky Over City and Water

This photo serves as an example to of a time when it may be appropriate to use masking techniques – astrophotography in an urban setting.

This mesmerizing photo taken by Sanaan Mazhar encompasses three different topics that I had spoken about in three earlier posts. Can you guess which topics I am referring to?

And more importantly, rather than me explain the photo to you, how about we flip it around again – how do you think this image was taken? Let me know in the comments below!

Photographer: Sanaan Mazhar
https://www.instagram.com/piccinng/

Toronto Skyline Over Lake Ontario at Night
Photo Commentary #15: Using Water for Reflections 1024 683 varunvisuals

Photo Commentary #15: Using Water for Reflections
Toronto Skyline Over Lake Ontario at Night

This photo of the Toronto city skyline at night is a perfect example of making use of the reflections in a body of water (in this case, Lake Ontario) to increase the overall scene’s color and contrast. While the city light’s reflection is probably visible to the eye, the photographer is still responsible for framing it appropriately within the overall composition of the photo. Furthermore, he must ensure the angle of the lighting is adequate enough for the camera’s sensor to pick up the reflection.

If you read my last post, you know that I briefly touched upon the power of dark and reflective elements within photographs – it would be an utter disservice if I never discussed one of the most common surfaces used and that is water.

Water is an excellent element (pun intended) to include in images due to its reflective properties as well as its ability to introduce contrast in an image where otherwise it would not be found.

When hearing water, many think of oceans, rivers, and lakes – while this is true, as in this image, it also refers to minor things like precipitation, puddles, and wet concrete! Simply put, water has immense power not just in nature and biology, but photography as well!

Fun fact: One of the most common, but less known, assets used on a movie set is a water truck. Often, streets and scenes are hosed down JUST for the amazing colors, contrast, and detail that it can bring to a scene. Next time you watch a movie, look for this especially in night urban scenes. Often, it isn’t even raining in the movie – the ground is just wet. Of course, if it is raining in the scene, this may be from a water truck as well.

So…how many of you already knew this? 

Photographer: Harrison Haines
https://www.instagram.com/harrison.haines/
https://www.hhphoto.ca/

Photo Commentary #14: Color and Vibrancy 683 1024 varunvisuals

Photo Commentary #14: Color and Vibrancy
This beautiful long-exposure of a light trail taken by Benjamin Cruz is a perfect example of using vibrancy in a way that adds enough flare to an image without becoming overwhelming or unrealistic
This beautiful long-exposure of a light trail taken by Benjamin Cruz is a perfect example of using vibrancy in a way that adds enough flare to an image without becoming overwhelming or unrealistic

I think I can speak for all of us when I say that Benjamin Cruz totally nailed this urban photo!

There are simply countless elements in this visual that make it stand out. However the most prominent element is likely the wide range of colors that can be observed in the scene, added by the strength of the vibrance that each hue offers. Vibrance is a term that describes the intensity of only the otherwise muted colors in a scene (versus saturation which refers to ALL the colors in a scene).

Like many other topics we have discussed before, this is a double edged sword. Too much vibrance, and especially saturation, can turn a vivid photo into a messy, blotchy, and otherwise ununatural image. Unfortunately, I found myself to be a perpetrator of this crime numerous times when I began learning photography!

This image avoids such a fate through several avenues. Firstly, the scene itself is colorful. Red tail lights, white lights in office buildings, yellow street lamps, and green signal lights can all attest to this. Secondly, there is contrast between the darkness of the bench and brightness of the intersection – the former accentuates the latter. Thirdly, the utilization of reflections, once again, by the bench.

In summary, a slight increase in the vibrancy of the intersection is magnified several times over by dark reflecting surfaces that simultaneously give the photo contrast, thereby avoiding what could have been an blotchy cartoon.

Great work Ben!

Photographer: Benjamin Cruz
https://www.bencruzphotography.com/
https://www.instagram.com/Thelensoftruth/

Masking in Landscape Photography
Photo Commentary #13: Masking 1024 683 varunvisuals

Photo Commentary #13: Masking
Masking in Landscape Photography
Masking is a highly effective tool in photography, especially in the world of landscapes. This image shot by Johannes Plenio exemplifies a moment where masking can be used to capture the best of two worlds.

At the end of my last post, I asked you to think about how photographers are able to retain areas of sharpness in a long exposure photo – today I will be discussing the answer.

Rather than starting with the solution, I figure it would be more interesting to work towards it. Let’s start with what we know. Imagine you are at the location of where this beautiful photo was taken. Your end goal is to arrive at the same photo. Based on the information I gave in the last post, you are successfully able to capture the rolling clouds in the sky. However, the tree on the right was also swaying in the wind so it is blurry. This applies to the grass as well.

You try to take another picture but with a faster shutter speed. Now the grass and trees are sharp but so are the clouds – once again, not what we want.

So now you have 2 pictures framed with the exact same composition (thanks to your trusty tripod), but neither has both the elements you want – sharp foreground and blurry sky. If only you could take the best parts of each photo and combine them into one…hmm.

Welcome to the process of masking. Masking is one of the most widely used processes in photography. Generally speaking, masking simply refers to covering up a certain portion of a photo to which you do (or do not) want certain characteristics to either be captured and/or edited. In this particular instance, you could utilize both images and via editing software, cover up the sharp clouds in one image and the blurry grass/trees in the other.

Of course, this is not the only time masking can be used!

So, what are your thoughts on masking?

Photographer: Johannes Plenio

http://www.coolfreepix.com/
https://www.instagram.com/jplenio/
https://unsplash.com/@jplenio
https://m.facebook.com/profile.php?id=1104990498

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