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Russ Barnes
16,810 followers -
Contemporary British Landscape Photography
Contemporary British Landscape Photography

16,810 followers
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I'm back from a few months away from G+. I've been shooting some Infrared with a converted Nikon D7000 over the last few months. This is a Lavender Field shot with a 665nm converted sensor with the magnificent Nikon 70-200mm f/2.8 VRII...
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Magnificent view...
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Work which is always a joy...
The other day I was out teaching a private workshop along the coast. As it turned out, the sunset was pretty nice! My client mentioned she was interested in tips on photographing the Milky Way. Well, as it turned out, by the time we got back up the trail to the car, the Milky Way was out and just begged to be photographed. So, we found a good vantage point from the bluffs and she got some really nice photos. That was an unexpected addition to the evening!

I told her "You know, now I need to come out tomorrow night and shoot this myself!". And I did! Although I did go to a different beach, I headed out after work to photograph the Milky Way over a beach known as Shark Fin (or Shark Tooth) Cove near Davenport, California.

I used my +Really Right Stuff  panorama gear and my Nikon D800 and 24mm f1.4 lens to make a vertical panorama. Hope you like it!

Website: http://jimpattersonphotography.com/
Workshops: http://seatosummitworkshops.com/

Still spaces left in the +Sea to Summit Workshops final 1-day workshop of the year on October 12th. Details here: http://www.seatosummitworkshops.com/workshops/santa-cruz-photography-workshop/

#santacruz   #milkywayphotography   #seascapephotography   #landscapephotography  
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For me photography is as much about progress as it is about creativity. And when I say progress I really mean development. With almost every image I'm always trying to improve, sharpen a technique, or be clear in my own mind what makes the strongest composition for each and every scene almost by second nature.

My initial Tilt Shift long exposures were not that good, some of them are still not very good, but then others end up like this one which achieve something of the vision I had for the scene when I decided to deploy the technique. The plane of focus here was not easy to achieve - simultaneous focus in the dune grass and lighthouse is not easy at f/4, and the amount of blur from the 15 second exposure, just enough to soften the tops of that grass down depicting a little movement. And then there was the mono post process. Not as easy as it looks for a shot like this, but that's another story.
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I've been back to France a number of times this year, I think it's five already, and on each occasion we've been treated to a variety of conditions. This time we had some blue sky with broken cloud at times to play with and somehow I fluked the positioning of the cloud for this 2 minute exposure. 

I've been asked by a few people recently if and when I use a Polariser. Truth is (during winter months in particular) I barely see any reason to use one but when blues and yellows present themselves like this side by side then it's a great time to make the most of those. Calais is a great location for a Polariser actually because of the constant position of the sun, which instead of being out at sea, bobs around behind you or to the left and right all day - perfect for making the most of side light where a Polariser thrives.

I took a few from this spot playing with the composition and this one where the posts rise up at the front to break the horizon definitely worked out best. Composing this way means that there is more than one anchor between the sky and beach to bring the image together and allow the focus to be all about the posts and the marker with much less attention on the horizon as a competing element. The mono version of this worked out equally well, maybe I'll put that up tomorrow for comparison for you.
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I must say when I see stuff like this, it might not be my first go to type of photography but I absolutely can't help myself. I love grand building interiors, especially with a wonderful feeling of space or a view beyond like this.

This is of course the Turner Contemporary gallery and although some of the work inside tests the concept of art sometimes, it is absolutely on par with the Tate Modern and a very interesting view for me. This wonderful sculpture work by Juan Muñoz is titled "Conversation Piece III" and it certainly is that, but I loved the way that I could make silhouetted people who were mingling with the display, perhaps leaving the viewer guessing just for a moment which was a sculpture and which was not. I need to spend more time around Tate Galleries and especially windows like this, they really are quite wonderful.
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Another for the Lumière collection from this weekends workshop I lead in Northern France. We were lucky to bag yet another day of quite wonderful light and conditions like these... Once again, the participants were great company, I very much enjoyed meeting you all!
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Here's one especially for my hardy attendees of the Brighton Landscape Photography Workshop I ran last Saturday, indicating that images like this were very much possible in the conditions we experienced - giving you a point of reference for future locations. It was taken using my 45mm lens (remember the discussion about our 50mm vision?) from the top of the pier we were standing on, across the entrance to Shoreham harbour to the other side, it's been cropped down to 16:9 to remove the top of the sky which added nothing further in the image.

I did of course use the Lee Big Stopper here to reduce light to the sensor, and also a 0.9 (3 stop) Lee Soft Grad filter pulled down to the horizon. It was taken just after 10am when the cloud started to move in, but sufficiently covered the scene without being too blotchy.

My approach to subtraction played a big part in the composition of this image, firstly I framed the image up making sure there was no clutter from the harbour to the left or right, leaving only four basic elements to the image: the sky, the sea, the pier and the horizon. Remember that the horizon is a strong competing element in every image so by lining it up with the top of the pier, it jars less and no longer becomes a strong factor in the final image, almost reducing the elements to three: the sky, sea and pier.

Aiming for sheer minimalism like this isn't always easy, but on this day the sea was so calm that large swathes of white water and the problem of breaking waves could be avoided and in this 96 second exposure, the sky has also lost some of its definition, but retaining enough so that we still know what it is. Question marks as to the scale of the scene can also be asked - if you look very closely there are in fact two fisherman on the end of the pier, but other than that we don't really know how big the silhouetted structure is - I love playing on themes like this.
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I've been interviewed in the May Edition of Outdoor Photography Magazine which is out now. It was an interesting experience - it certainly gets you thinking about things a different way. The image here is one which they picked for publication, almost a shot I had completely forgotten about! If you have amazing eyesight you can read the interview on my blog here: 

http://russbarnes.co.uk/blog/2013/4/feature-interview-in-outdoor-photography-magazine-may-2013
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