With a slight disappointment we arrived at the Jökullsárlon for the third time. The weather forecast had promised sunshine and we were already there at 9 o’clock. We were alone at the location, a rare privilege. However, we encountered an almost closed cloud cover, which could not be pushed away by the strong downwind of the glacier. Only on the glacier itself was a remnant of blue sky to be found.
The name Diamond Beach comes from the small pieces of ice that come from broken icebergs that the glacier has calved into the glacier lake Jökulsàrlon. They glitter in the sun like fairy-tale diamonds – when the sun is shining.
Using frame averaging, I was able to get long-term recordings without using a neutral density filter. I left this one in the car. In 8 seconds, with around 45 pictures that are averaged, I achieved vivid results in landscape photography.
It was impossible for me to sleep really long. The long day in Iceland and the tension about when the test result would arrive kept me awake. In the end, it was 12 hours that we waited. We spent the quarantine in the car on the way to the hotel as indicated. After12 hours of tiring waiting, the result – a negative test -was as a text message on our mobile phones.
The weather was constantly changing on the way. In addition to great photo opportunities, there were also boring sections with rain or dull views. At the end we arrived in Arnarstapi. Again along day with excursion to the basalt coast with finely distributed rain.Despite the unpleasant rain, the sky was full of interesting light conditions that the eye was not accustomed to correctly estimate.
The German philosopher Karl Jaspers described in his memoirs the boy’s experiences with the sea. The sea, he noted, is a symbol of philosophy, because it makes infinity present to us.
Is a photo on the beach enough to bring us closer to the infinity of thought? Maybe at that moment, I think, when we stop thinking focused when we look at the photo.
Different motifs are able to change our inner view. They don’t have to be pictures of the sea. But with these, our feeling is often more evident.
Technically I did three longtime exposure of 15s, which is a sort of time fusion. I used a 6EV Lee filter to photograph these three stones at the beach short after sunrise. You can see the colourful reflections of the morning sky in the sea and on the damp beach.
Longtime exposures hold a special appeal for me. Again and again I try do do it. I found the idea for this picture in a book about modern photography. The photographer took a picture of flowers in a vase with a specially built camera for many days until the first petals fell. The passing of time, which often cannot be experienced directly by us, can thus be illustrated by a photograph. Due to the new corona virus we had plenty of time at home to make flower photographs.
With my macro lens I can only realize the aperture value f/32, which means that even at ISO 50 the exposure time dose not rise above 15s possible when the lightbox is turned on. As an approximation to a true long-time exposure, I started a series of 23 HDR images at irregular intervals over the course of 4 days, just as it became apparent that my tulips would rise wide.
Each HDR image was created from6 shots at f/32 and ISO 50 with exposure times of 0.5s, 1s, 2s, 4s, 8s and 15s. The biggest difficulty was to block off a part of our living room before Christmas so that the exposures could always be done in the same way. Furthermore, the camera was not allowed to be changed by switching it on and off, changing the exposure times or removing the memory card.
I processed the layer stack of 23 TIF images in two ways. First straightforward as a smart object and then change the stacking mode in Photoshop as an average. Or fade out the layers after the start shot using black layer masks and gradually paint in interesting parts of the later images with a soft brush to create an overall impression. This approach was more promising to me than averaging the layer stack, which in my eyes expresses the flow of time too weakly.
Just to do the math: each image of my camera has 151 million pixels with a file size between 125 and 180 MByte in RAW format and 866 MByte after a RAW conversion to a TIF file. The total size of the project is something above 300 GB. 138 RAW files sum up to nearly 21 Billion Pixels. The final image has 159 million pixels due to some added background at the top of the result.
We are the end of a year with unexpected restrictions and new dangers. A walk with friends out in the forest with their dog with a lot of distance between them feels uncomfortable. Time puts its stamp on you wether you want it or not. The feeling of an unstoppable acceleration is spreading.
There is a well where the dog finds some fresh water. Behind the well broken stones and an old tree.
There are less and less leaves on the trees, so that the forest becomes more and more monotous. A few trees and bushes still have yellow, green and even some red leaves. These splashes of colors are are transformed by deliberate camera movement into areas of color and luminous islands that cheer up.
The Old Bridge in Heidelberg has the same attraction to visitors as the Charles Bridge in Prague or th Bridge to the Castel Sant’Angelo in Rome. Not everyone that the connective building between the two white towers houses an apartment. You come to the bridge early in the morning, you’re almost alone. This lonelyness is especially emphasized by a single walker.
The morning calm is reinforced by the fog. Even the car traffic is not so loud as usual. Maybe the noise will decrease even more with electric cars. That would do us good. The view form the bridge downstream shows ships tied up on the shore. Only a few rowers are on the river with trainers whose voices hardly penetrate.
The castle exercises the rule over the city. The strong contrast of the castle ruins over the roofs off the Old Town on the river bank is attenuated by the morning mist.
Looking at waves captivates us just as much as looking at an open fire. Digital photography provides us with very short shutter speeds or exposure times static, better: frozen images of the ups and downs of water movements.
There are no creative limits when trying to extend exposure times (or shutter speeds) instead of further shortening them, at most technical ones. Longer exposure times merge several moments of water movement and thus paradoxically have a dynamic effect, meaning a look and feel of a movement.
There is no right or wrong exposure time. There is a special impression for each exposure time in the fusion image of several moments.
The proof of the pudding is in the eating. By experimenting with a neutral density filter of 10 EV I managed to get at a not too long exposure time of 1/4s to 1/3s making waves look like painted. With only economical digital post-processing worth seeing images were created.
Always changing weather conditions is normal on Sylt, the northern most island of Germany. Heat, winds and rain alternate continuously. Just arrived I had to go straight to the beach, where clouds and sun welcomed me at the same time.
The on average better weather awaits one in the north, the so-called elbow, a peninsula near List. A lot of unused beach chairs with low numbers are standing there.
Some 40 km south one finds the south tip of Sylt with its characteristic lighthouse. Many lighthouses can be found on this island, which is surrounded by sandbanks and often changing flow conditions of the water at low or high tide.
A beach walk is accompanied by many birds, seagulls mostly, but also cormorants or sandpipers. Sometimes you flush them out unvoluntarily and they fly wildly confused.
Cyclists become tiny like ants against the seemingly overpowering clouds. Without mountains one loses any scale.
Experimenting with longtime exposure my first results of waves at the beaches are not yet convincing. Three seconds turn out to be a vivid interval of the time fusion on my sensor.
I didn’t what would happen this rainy day. But the waves and surf on the mole was so beautiful, that I forgot the time.
All of a sudden I got an text without possibility to answer or to ask back. Transfer tomorrow cancelled. Nothing special in the world, but my friend was in need to reach Lucerne tomorrow.
Back in my hotel I got everything organized: a ferry boat at 6pm, a train to Hamburg tonight, 2 single rooms for Monald and me in a nice hotel at the harbor. And a gorgeous day for photographers extra in Hamburg. I could keep cool blood all the time. My allergic reactions to pollen had left me in Heligoland once more immediately. It’s been worth the break with a lot of travelling, having a good friend with me.
Two short days and much recreation. We will have a lot of fun with the next waves to come this evening.
On the penultimate day of our Out of Yosemite conference in Yosemite Valley, the Bridalveil Fall with Charlotte Gibb as instructor was on the agenda that Saturday morning at 6am. I hoped that by participating in her workshop I would gain a less technical or more creative approach to photography of waterfalls.
She gave us the topic of long time exposure in the preliminary discussion. The spot offers little freedom of movement. There was not much room for all of us, and on top that there were every now and then some people walking around in our compositions.
Bridalveil Fall shows a strong variability of location due to the influence of air movement. Especially at sunrise you can clearly feel the rising winds. So you don’t have much time for camera setup. An ensemble of stones in the waterfall can all of a sudden become dry and the composition becomes useless. In return, the neighbouring region becomes dripping wet and appears in a new light.
I know pictures from long time exposures with moving water. They’re interseting sometimes. I rarely find them really good. Often they exhibit a strong technical assessment and their message ist not really accessible to me.
I begann to study sections of the waterfall, which meant that the rock formations in the composition always showed a new character. That way many compositions can be made.
Probably an image that expresses changeability and constancy is best suited to make us think about the origin of the world. Planets orbiting their central star are a well known example for this. Or stars that orbit the black hole of our Milky Way in 11 years.
My last picture of Bridalveil Fall, with its interplay of light and dark, of flowing and solidification, steps and flow, forms and dissolution of forms, shows the coexistence of changeability and constancy. That’s what makes it so attractive to me.