Last week marked the one year anniversary of the COVID shutdown. WOW. One year.
In hindsight I realize that I might have been a little naive when this thing started because of the way I’d spent the two weeks prior to the shutdown: first in Scottsdale, Arizona for my annual MLB Spring Training trip (go Giants!), followed immediately by a week in Anchorage, Alaska to visit my daughter. In Arizona at the beginning of March I noticed very little difference in people’s behavior (though I did have to search long and hard for hand sanitizer), but winging my way to Alaska, I was struck by how empty the airports and flights were. Hmmm….
Alaska is where I was when it started to dawn on me that a couple of my upcoming workshops might be threatened. When that realization hit, I remember thinking I’ll be fine as long as I don’t lose the New Zealand trip at the end of June. Ha! I ended up losing 12 workshops, including New Zealand in both 2020 and 2021. And the workshops I have managed to pull off (three so far since last March) have been impacted as well, both in terms of group size and COVID protocol.
But this isn’t a woe is me post, I promise. I have so much to be grateful for, starting with the flexibility of being self-employed and working from home. And of course continued good health of my family and me. Oh, and the fact that I’m still in business.
And just like that, here’s 2021, I’m fully vaccinated, with two workshops in the mirror and six queued up over the next eight weeks (maybe I should be careful what I wish for). Life’s good.
I started this blog with the idea of a sentence or two reflecting on the COVID anniversary before diving into some thoughts on this just-processed image from last November. But here I am, nearly 500 words later….
I don’t need to gush any more about this day, a highlight of my pandemic year—you can just go back through the many blogs I’ve already posted about it (7—I counted). What I wanted to say about this image is how it underscores the importance of not merely settling for a beautiful scene, no matter how beautiful it is (something this one irrefutably was). Creating an image that stands out from all the other pictures of inherently beautiful scenes requires understanding the difference between the way your camera sees a scene and the way you see it. Unlike your experience of the world, a still image is devoid of motion and depth, has limited dynamic range and depth of field, and is constrained by a rectangular box. Managing these differences requires the ability to control your camera’s exposure variables (f-stop, shutter speed, ISO, focal length) to create the illusion of depth and motion.
The clouds had just started to part when I arrived at this reflective bend in the Merced River. It’s easy to get walloped by the beauty of a scene like this, frame up something nice, and click. But after indulging the creative side of my brain (camera or not, this scene really was gorgeous), I forced myself to set my awe aside for a few beats to work out the best way to convey the beauty.
My first step in most scenes is to identify the most important thing—what I want the scene to be “about.” If that important thing is in the foreground, I look for a complementary background; if my subject is in the background, I try to identify a complementary foreground.
In this case my “most important thing” was the entire scene across the river, anchored of course by Half Dome, but supported by the snow-covered trees and the reflection. I wandered the riverbank and found a few things to put in my foreground. I started with a mini cove rimmed with leaves that I used to frame a horizontal composition. Then, looking for something that would be better for a vertical composition, I moved on to these floating leaves and partially submerged log just a few feet upstream. Framing everything up at eye-level, I didn’t like the empty gap between the leaves/log and Half Dome’s reflection, so I dropped my tripod as low as it would go and went to work.
While there was a fair amount of dynamic range, I knew it was well within the capabilities of my Sony a7RIV—if I exposed carefully. But exposing carefully means more than just getting the light right—it means getting the light right with a shutter speed that handles the motion, and with an f-stop that handles the depth.
With a few ripples disturbing the reflection, I wanted shutter speed long enough to smooth the water and twisted my Breakthrough 6-stop Dark Circular Polarizer onto my Sony 16-35 f/2.8 GM lens. And since sharpness from the closest leaf to Half Dome’s summit was important, I selected f/16 and focused on the log. (My hyperfocal app assured me that this would give me more than enough depth-of-field for front-to-back sharpness.) Next, with my eye on the viewfinder, I slowly turned my polarizer far enough to remove the reflection from the leaves, but not so much that I erased the primary reflection.
Finally, I was ready to meter and select the shutter speed the gave me a good histogram. At my a7RIV’s native ISO (100), the shutter speed I needed was 1-second. To double that and ensure better smoothing of the ripples, I dialed down to ISO 50. Click.
(Images from the last 12 months)
Click an image for a closer look, and to view a slide show.