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Waterscape

Photo Commentary #27: Starbursts and Fraunhofer Diffraction 1024 683 varunvisuals

Photo Commentary #27: Starbursts and Fraunhofer Diffraction
Starbursts in Nightime Urban Scene

This gorgeous photo taken by Xerwyn Flores serves as a great example of starbursts in an urban environment. Notice that the lights further back in the photo (and thus less in focus) have weaker starbursts.

One of the most common characteristics you will notice in urban photographs is a lighting phenomenon colloquially known as “starbursts”. This, of course, is in reference to the the star like appearances of lights within an image due to the outward direction of their rays. However, the true explanation of this effect is a little bit more complicated – here goes nothing!

Before I explain the effect in the world of photography, we have to first take a slight detour through the world of physics. The “starburst” effect you notice in many photographs is due to a concept known as the Fraunhofer Diffraction. Fraunhofer Diffraction refers to the phenomenon by which light waves behave when travelling from an infinite distance through a slit or narrow opening. The reason we use infinite as the ideal distance is because it theoretically results in straight parallel light rays which cumulatively create what is known as a plane wave.

Fig 1.) Think of the plane waves as a 3D picture of the "incoming waves" in fig 4. A billion parallel incoming waves theoretically create a "plane". The arrow would point to the slit and screen.
Fig 1.) Think of the plane waves as a 3D picture of the “incoming waves” in fig 4. A billion parallel incoming waves theoretically create a “plane”. The arrow would point to the slit and screen.

In summary:

1.) Infinite distance between light source and slit produces parallel waves.
2.) Parallel waves cumulatively form a plane wave.
3.) All the individual parallel waves within the plane wave enter the slit or aperture at the same phase

Phase Changes and Velocity Measurement. Fig 2.) Phase refers to a point on the light's wavelength
Fig 2.) Phase refers to a point on the light’s wavelength

4.) Fraunhofer Diffraction occurs and light rays meet at a common point (light is focused)

Fig 3.) Light rays diffract and meet at a common point, creating a focused image
Fig 3.) Light rays diffract and meet at a common point, creating a focused image


5.) If light is focused, we can then assume an infinite distance to the light source

Fig 4.) A 2D depiction of parallel light waves entering a slit to create Fraunhofer diffraction. The first figure is a 3D view of the same incoming waves.
Fig 4.) A 2D depiction of parallel light waves entering a slit to create Fraunhofer diffraction. The first figure is a 3D view of the same incoming waves.

When the incoming light wave passes through the slit or opening, some of the rays diffract or bend according to several variables including: size of the hole, shape of the hole, and the distance between the screen, slit, and light source.

Now back to photography. In the beautiful image of the city skyline, we will take a look at the first street lamp on the top right corner – this will be the source of our light. The diaphragm or aperture of the camera lens will be the “slit”, and the light sensor of the camera will be the “screen” (or in other words, the “photo” we see). Let’s start with the light source.

The light source has an impact on the diffraction produced due to its distance from our camera lens as well as its other properties such as wavelength (color) and intensity. We can assume the distance from the lamp to our camera is infinity. Reason being, the street light is in focus. If you look at lights in the background or in the buildings, they have reduced focus, hence less diffraction and weaker starbursts occur.

The aperture of the camera is the slit in the diagram. The narrower the slit or aperture, the more diffraction occurs, and thus, the greater the diffraction. In other words, f/16 would create MORE diffraction than f/11. However, things don’t end there. Another aspect of the aperture is its actual shape – this is where the magic happens.

Fig 5.) As the blades of the camera's shutter increases in number, the more circular the aperture's opening becomes and less diffraction occurs
Fig 5.) As the blades of the camera’s shutter increases in number, the more circular the aperture’s opening becomes and less diffraction occurs

Camera apertures are not perfectly circular. Rather, they are comprised of numerous blades to form various shapes, depending on the number of blades. The more circular the hole, the less the diffraction. This also means, the more the blades in your camera’s aperture, the less diffraction you will see. The shape of your camera’s aperture is also the reason the starbursts get their shape. Fun fact – if your camera has an even number of aperture blades, that will be the number of points in the starbursts you create. If it has an odd number of blades however, the starburst will have twice as many tips. In the main photo, I counted an average of 14 rays in the starburst. This could mean one of two things – the camera has an aperture with either 7 blades, or 14 blades.

Fig 6.) In order to theoretically achieve any Fraunhofer Diffraction, the equation above must be less than one. However, to be seen, the equation must be much smaller than 1. W = aperture size L = Distance from light source to aperture λ = Wavelength of light
Fig 6.) In order to theoretically achieve any Fraunhofer Diffraction, the equation above must be less than one. However, to be seen, the equation must be much smaller than 1.
W = aperture size
L = Distance from light source to aperture
λ = Wavelength of light


So all in all – if you want an epic starburst, get a camera with 100 aperture blades, get a light source in focus, and make sure it is red in color (red has the longest wavelength)!

Oh and big thanks to Xerwyn Flores for taking this beautiful photo!

Photographer: Xerwyn Flores
https://www.eyeem.com/u/xeriez

Rule of Thirds Used in a Landscape
Photo Commentary #26: Rule of Thirds 1024 606 varunvisuals

Photo Commentary #26: Rule of Thirds
Rule of Thirds Used in a Landscape

In this image, the Rule of Thirds is applied two times in two different ways – the waterfall is centered on an intersection point but the mountain is composed along one of the guidelines in the imaginary grid.

In one of my previous posts, I quickly mentioned a concept called the Rule of Thirds. The Rule of Thirds is a guideline that landscape photographers often utlizie when determining the composition of their photo. So how is this done?

Well imagine there is a 3×3 grid placed on top of the photo or scene you are trying to capture/edit (hence the name) – you may have seen this before, probably as one of the settiings in your phone’s camera. The idea is that you want to place your main subject at any of the 4 intersection points, or along one of the guidelines. Reason being that viewers’ eyes tend to naturally gravitate towards those area of an image, video, artwork, etc. Therefore, it makes more sense to place the subect where the audience will naturally look first.

This is similar to the idea behind leading lines – except rather than using a photo’s element to guide the viewers’ eyes, you are using natural human behavior to your advantage. However, both are pertinent to audience perception and attention.

In this beautiful photo taken by Ray Bilcliff, the waterfall sits near one of the intersection points of the imaginary grid – the bottom right intersection point in particular. To add to this, there is an obvious contrast between the warm hues of the sky and landscape compared to the cool white of the water (which is also another example of long exposure photography being utilized to capture waterscapes). The mountain on the other hand, sits on not an intersection point, but a guideline – the first vertical line from the left. In both cases, the subject(s) of the photo are composed in a way that the viewer has to search less and well…admire more. No wonder this photo is so visually appealing 

Also, check out Ray’s websiite and instagram to see more stunning waterscapes! He is a retired scuba and karate instructor, how cool is that!

Photographer: Ray Bilcliff
https://www.instagram.com/raybilcliff/
https://www.raybilcliff.com/

Photo Commentary #23: Manipulating the Environment to Your Favor 150 150 varunvisuals

Photo Commentary #23: Manipulating the Environment to Your Favor
This photo is a beautiful illustration of a reflection comprising a large part of the subject itself, rather than merely acting as a detail or separate element in the scene. This is largely in part due to the geometrical continuity between the bridge and its reflection, thus creating a full circular illusion despite the bridge only being a semi-circular structure.
This photo is a beautiful illustration of a reflection comprising a large part of the subject itself, rather than merely acting as a detail or separate element in the scene. This is largely in part due to the geometrical continuity between the bridge and its reflection, thus creating a full circular illusion despite the bridge only being a semi-circular structure.

In an earlier post, I had briefly touched on the significance of waterscapes and their ability to add contrast, color, and essentially, almost double of whatever they may be reflecting in the photo – if there is one photo that best exemplifies this fact, I would say this shot by Martin Damboldt is definitely in the running.  

In most instances, the reflective qualities of surfaces, whether it is water, metal, or something else, are used to accentuate, compliment, or build on the subject of the image. However, there are a few photos where the reflection is not just a mere accessory to the subject, but it is the subject itself (or at least part of it).  

In this visual, the reflection is quite literally half the subject, and without it, the image would definitely be incomplete. The calm water provides an excellent surface to reflect the other “half” of the bridge, thus presenting this mesmerizing illusion.   In the grander scheme of things, this image not only speaks to the significance of reflections, but the artistic ability to manipulate the surroundings in which the artist may find him or herself. In other words, to not only see what IS there, but also what ISN’T. Identifying the delineation between what is and what isn’t allows the photographer to exploit each category to his or her benefit. If you know what is there, you can make it go away, and if you know what isn’t, you can make it appear. In this case, Martin saw the half of the bridge that wasn’t there, and used his surroundings to negate the fact via the utilization of reflections.  

Photographer: Martin Damboldt
https://www.instagram.com/mdamboldt/
https://damboldt-photographie.com/
https://500px.com/mdx014

Photo Commentary #22: Minimalist Landscapes 150 150 varunvisuals

Photo Commentary #22: Minimalist Landscapes
This photo taken by Quang Nguyen Vinh serves as a perfect example of a minimalist-like style of photography - in this case, the style was used with a landscape as the subject matter. However, minimalism can be seen across all genres of photography (and other mediums) like urbanscapes, architecture, street photography, and even portraits.
This photo taken by Quang Nguyen Vinh serves as a perfect example of a minimalist-like style of photography – in this case, the style was used with a landscape as the subject matter. However, minimalism can be seen across all genres of photography (and other mediums) like urbanscapes, architecture, street photography, and even portraits.
During these times of chaos, it is nice to take a deep breath and appreciate the more simpler things in life – there are few better examples than this serene landscape shot by Quang Nguyen Vinh.
 
While the image invokes a peaceful mood through its minimilastic presence, it still presents many concepts that I have spoken about earlier.
 
For instance, depth of field is exemplified by the algae covered rocks foreground, waterscape in the middle, and sky in the background.
 
Furthermore, it is possible that two photos were stitched together with masking, one of a long exposure of the waterscape, and another regular exposure of the sky.
 
The reason I say it is “possible” is because it is just as likely that one could find an in-land body of water with minimal ripples or waves. In which case, a “super long exposure” wouldn’t be required. Instead, a photographer could settle for only a 1-2 second shutter speed (thereby dealing with SOME unintentional blur in the rest of the photo – in this case it would be the clouds) to “calm the water” only as required. This is instead of needing to use a 30 second shutter speed to make a rough ocean look just as smooth. Great shot Quang!
 
Stay healthy everyone!
 
Photographer: Quang Nguyen Vinh
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/

Blurred Waterfalls
Photo Commentary #12: Long-Exposure Photography 1024 618 varunvisuals

Photo Commentary #12: Long-Exposure Photography
Taken by photographer Johannes Plenio, this image illustrates the utilization of long exposure photography to capture "blurred" trails of water that we typically see in waterfalls
Taken by photographer Johannes Plenio, this image illustrates the utilization of long exposure photography to capture “blurred” trails of water that we typically see in waterfalls

During my last post, I began to discuss the fantasy-like appearance of waterfalls in certain visuals. This image demonstrates a similar appearance.

So how are these shots achieved? Long-exposure photography. Exposure is a term that refers to the amount of light reaching a camera’s sensor. As you had learned in my astrophotography post, this can be adjusted through changes in ISO, aperture, and shutter speed. “Long” simply acknowledges the extended duration with which light reaches the sensor.

With these facts in mind, it becomes easy to comprehend how photographers can create such an image without having to travel to Narnia. By either reducing the shutter speed or widening the aperture of the lens, not only is more light able to reach the sensor, but the more time movement can be detected.

Each time light bounces off the subject and into the lens, the subject will have moved ever so slightly. This process repeats itself to the point where we have given it a casual term – blur. When you take a photo of your son at a track meet, it’s easy to see blurring in the image because of the quick movement. While it’s not ideal in that scenario, it can be utilized properly in others, such as when shooting waterfalls.

Light strikes each drop of water as it falls, and what you end up seeing is quite literally “blurred water”. However one thing that must be noted is the ISO – if you would like a longer exposure or more “blurring”, the ISO must be reduced. Otherwise, the image could be “blown out” – a way of describing a situation when TOO MUCH light enters the lens. The result is super bright, almost white like, areas in the photo with minimal details visible. The bright portions of a photo (also known as “highlights”) are most susceptible to this effect.

One thing is certain – it’s hard to explain photo flaws when looking at an image as perfect as this! Love the work Johannes!

Oh and here’s something to think about: if the water is blurry in this photo, why are the background elements in the photos (like the trees and grass) sharp? Surely they must have been moving a little bit so why aren’t they blurry as well? More on this in the next post 

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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