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California's Central Coast
11 12 13 14 15 April 2012
Friday the 13th of April, 2012 top
Today the group headed out for our first full day of shooting — on lucky Friday the 13th.
First stop: the Mission for a blessing. A funeral was in progress.
Mission Bells, San Luis Obispo, 10:33 AM. (Fuji X-Pro1 with Fuji XR 35mm f/1.4 ASPH, f/5 at 1/150 at AUTO ISO 400.)
This shot looks three-dimensional because the wet bells are so sharp, which stands out in front of the soft background.
Rope, Port San Luis Harbor, 12:09 PM. (Fuji X-Pro1 with Fuji XR 35mm f/1.4 ASPH, f/16 at 1/52 at AUTO ISO 400.)
Mung Pad, Port San Luis Harbor, 12:09 PM. (Fuji X-Pro1 with Fuji XR 35mm f/1.4 ASPH, f/5 at 1/140 at AUTO ISO 200.)
Red and Brown, Port San Luis Harbor, 12:12 PM. (Fuji X-Pro1 with Fuji XR 35mm f/1.4 ASPH, f/11 at 1/52 at AUTO ISO 250.)
This snap is all about red trapezoids.
FIRE, Port San Luis Harbor, 1234 PM. (Fuji X-Pro1 with Fuji XR 35mm f/1.4 ASPH, f/8 at 1/420 at AUTO ISO 400.)
You can't do this with LEICA; you can't view through-the-lens to get framing this accurate, or focus this close.
Balance, Port San Luis Harbor, 12:35 PM. (Fuji X-Pro1 with Fuji XR 35mm f/1.4 ASPH, f/5.6 at 1/340 at AUTO ISO 200.)
This is about the balance of the circle within a rectangle. Since color is irrelevant here, I split-toned this in Photoshop.
Red against Green, Port San Luis Harbor, 12:41 PM. (Fuji X-Pro1 with Fuji XR 35mm f/1.4 ASPH, f/5.6 at 1/75 at AUTO ISO 400.)
This isn't a pipe; it's a photo all about colors.
Oak, See Canyon, San Luis Obispo, 3:04 PM. (Canon 5D Mark III, Canon 55-200mm USM II at 140mm, f/5 at 1/400 at AUTO ISO 100.)
Tree Bridge, See Canyon, San Luis Obispo, 3:17 PM. (Canon 5D Mark III, Canon 20-35mm USM at 35mm, f/5 at 1/400 at AUTO ISO 100.)
This is all about line and texture. Color is irrelevant and would be a distraction, weakening the image, so I split-toned this in Photoshop.
Thistle, See Canyon, San Luis Obispo, 3:32 PM. (Canon 5D Mark III, Canon 55-200mm USM II at 200mm, f/8 at 1/320 at AUTO ISO 100.)
This is all about a magenta dot against a green background. Having a sharp thistle also helps bring the magenta dot forward, but in any case, this is not a photo of a thistle.
I shot in Av mode and used my 5D Mark III's depth-of-field preview to choose an aperture which gave enough sharp on the thistle, and blurred the background well enough.
Grass, Montaña de Oro, 3:17 PM. (Canon 5D Mark III, Canon 55-200mm USM II at 55mm, f/13 at 1/100 at AUTO ISO 100.)
This again is all about line and texture. It's not about grass. Color is irrelevant, so I split-toned this in Photoshop.
I stopped down a little to get more in focus. It's simple: just flick the top dial while in Professional (P) exposure mode.
Corallina Cove, Montaña de Oro, 6:09 PM. Original © file. (Canon 5D Mark III, Canon 55-200mm USM II at 120mm, f/14 at 1/640 at AUTO ISO 100.)
This about shape and texture. Color is irrelevant, so I split-toned this in Photoshop.
The contrast comes from standing up high and pointing down into the glaringly brilliant reflections.
After Montaña de Oro, we had dinner at the Harbor Hut in Morro Bay.
Bathroom Tiki, Harbor Hut, Morro Bay, 7:46 PM. (Canon 5D Mark III, Canon 20-35mm USM at 25mm, f/4 at 1/30 at AUTO ISO 6,400.)
NoKen, Morro Bay, 8:14 PM. (Fuji X-Pro1 with Fuji XR 35mm f/1.4 ASPH, f/1.4 at 1/7 at AUTO ISO 3,200.)
One-seventh of a second exposure hand-held at ISO 3,200 and f/1.4, through a window? Easy: brace the camera on the glass, shield it with your jacket, and hold tight. I couldn't have done this with the LEICA M9 and comparable LEICA 50mm f/1.4 ASPH because the LEICA M9 looks horrible at these ISOs, even if it went that high, and most importantly because I can't see through the lens of the M9, only through the peephole finder. I had to wrap the camera in my jacket, so the LEICA would have had no working finder, ha ha!
That's all for today. NEXT ->> Saturday
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