There is no question that springtime is good for viewing cascades and waterfalls in magical light, which is exactly why we schedule Cascades & Wildflowers of Virginia in early May. Last year, with all the snow and torrential spring rains, the cascades were fuller than I’ve ever seen them.
Spring was also later than usual, since it took so long for all the snow to go. That put the wildflowers behind schedule a bit, but they were there. You just had to look.
And look I did, so I could show participants little treasures in the fields and woods.
I was walking up the trail with some of our students, approaching one of the many bridges over the river. They found their spots on the bridge and along the river’s edge to concentrate on water patterns, but this little blossom caught my eye.
You can see why. The light made it glow, and the background was in shadow. I called to those who were near me, but they were fixated on the river, and I couldn’t budge them. So I quickly set up my tripod.
The light wasn’t going to last long, and because this particular plant is so tiny, it could easily get lost in the background. I could have used a macro lens, but then, the background would have remained light. Instead, I chose to use my telephoto that fortunately was already mounted on the camera. I had to work really quickly. Even as I was setting up, the light was shifting. Fortunately for me, it got even better.
By using selective focus and taking advantage of the compression a long lens brings to a scene, I was able to make the background darker, allowing the little flower to sing. Yes, this was another one shot only, and I call it Into the Light.
When the students asked to see what I had done, they were envious.
I reminded them that when the instructors beckon or go off in another direction, there is probably a good reason why. This is also a reminder, as you’ve read before in this blog, to not get so entrenched in one photo possibility that you lose another.
The water wasn’t going away in the river, at least not while we were there, but catching the light on a tiny blossom was another story.
We always enjoy comments.
We hope you will LIKE this blog (just above the blog title above) and SHARE it (below) with those interested in photography and travel along with the following:
Photography is almost all about handling and interpreting the light conditions on which the subject is presented, and you have done it wonderfully.
I do love the balance of the composition too.
Again, thank you. After all, photography is all about light, as you well know. Arnie and I love that magic of light and what it does to a subject/scene.
Take care,
TBC
I love it. Can you give me setting details (aperture, focal length, etc.)? These are the things I’m trying to work on–how to make adjustments to my settings to really make the subject “sing” instead of settling for somewhat pretty or interesting shots that are still fairly mediocre.
Mary,
I’m glad you love the image. I do, too!
Now to your question. This is a tough one, because spouting off settings is really meaningless; there are different settings for each scenario and for each photographer. This is why I always check my display on the back of my camera. Each display is different, with some better than others. Get used to how yours translates into the digital darkroom. Take a look at your histogram and see what it says.
Back to settings. We have seen people who get wedded to a particular setting, thinking it will be the do-all/end-all. If this scene, for example, had contained an ochre wall, the settings to get what I wanted would have been totally different. Settings, after all, are a complicated balance of ISO, shutter speed, aperture, etc.
We encourage people, as you know, to seek their own vision, and we encourage them to test different combinations, then analyze them back on their computers. Sometimes, we give group exercises to that end. For safety there is the old adage, “f/8 and be there.” That was and is a safe setting that will give you a good depth of field. You can set your camera on aperture priority. But you may not always want a large depth of field. Often, I prefer a shallower one than f/8 affords.
In September, when you join us, we’ll talk about all of these things, and it will start to make sense to you. Meanwhile, experiment, experiment, experiment with any local scene. Set your tripod up and go through different combinations. That’s the way to learn.
It’s the way I taught myself. At 12, I bought my first 35mm camera, upgrading from the Brownie Hawkeye that my parents had given me at age eight. My dad saw my talent and encouraged me to go to the next step by telling me he’s pay for half. I got a second-hand Kodak Retina IIc with a beautiful Schneider lens for $100. $50 was a lot of money for a 12-year-old to earn by mowing the lawn, babysitting for my younger brother at 50 cents an hour, etc. I bought a 3″x5″ lined notebook. There was no embedded metadata then! I then drew vertical lines with columns for frame #, weather conditions, shutter speed, and aperture. I always used the lowest-grain film possible, so that was not necessary to record.
When I got my film back from Rexall’s, the common drug store back then, I’d analyze what worked and what didn’t. I also used that little white piece of paper that used to come with film. Those of you of a certain age will know what I mean. It had a little chart with Light sand or snow, bright sunlight, light overcast, etc. I learned my settings, so by the time, many years later, I upgraded to an SLR with [faint] an in-camera light meter, I didn’t need the meter.
Today, as noted above, all this information is in your metadata, so if you do a series on a tripod, varying the settings, you can later do a side-by-side comparison in your digital darkroom and decide which worked better for what you wanted.
I know this isn’t the answer you wanted, but it is much more valuable than numbers that are meaningless for your next shot.
Take care, and thanks for writing,
TBC
Lovely image – and the story behind it made it even more interesting.
Michelle,
Thanks for writing. You have an eye for light, as well. I also love the Emily Dickenson poem on your blog. I’ve been reciting that particular one for many decades, and in face, other than Beatrix Potter, I think it was the first poem I memorized. Most people have never heard of it.
Meanwhile, I’m glad you liked the image and story behind it.
Take care,
TBC