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Behind the scenes

dj may

Well-known member
The process is simple; arrive on location, set up and wait until dark. This time, the temperature did not drop below freezing, therefore remaining comfortable was not a problem (I have frozen body parts in the past).
Gornergrat_2021-06-12 21.58.07.jpg


Leica S3, APO-Elmar-S 180
 

jng

Well-known member
Some behind the scenes shots from the images posted here and here in the Fun with Medium Format Images thread. Having the camera hanging off the end of the 1.4x teleconverter attached to the 350 Tele-Superachromat is workable but not ideal, and since I knew I'd be setting up fairly close to the car I decided to go all in with the long lens rail - solid as the proverbial rock.

John

IMG_4116.JPG

IMG_4118.JPG
 

GrahamWelland

Subscriber & Workshop Member
Some behind the scenes shots from the images posted here and here in the Fun with Medium Format Images thread. Having the camera hanging off the end of the 1.4x teleconverter attached to the 350 Tele-Superachromat is workable but not ideal, and since I knew I'd be setting up fairly close to the car I decided to go all in with the long lens rail - solid as the proverbial rock.

John

View attachment 186923
As the saying goes, go big / long or go home … ;)
 

dj may

Well-known member
The typical experience of things not going according to plan. Mother Nature had other ideas. After nightfall, my intended shot was blocked by an unexpected cloud mass. This is normal in the mountains unfortunately. What to do? I laid down for a few hours, but could not sleep. I returned to the location a little past 04:00. It was very dark (of course) and headlamp required to see where I was going and what I was doing. It was so dark that I could not see the mountains, but only a faint outline against the dark sky. I made an educated guess at the exposure (60 seconds at f2.5). In the phone camera image, you can see the lights of St. Moritz below.
Muottas camera compressed 2021-07-19 22.35.28.jpg

Leica S3, APO-Macro-Summarit-S 120
 

MGrayson

Subscriber and Workshop Member
Not sure if this counts. I can't really get a good picture of me with an 8 foot monopod *taking* the picture. So here is the picture:


If you think about it, an eye-level shot would have the photographer, guitar player, and background crowd all mashed together.

And here is the equipment - Leica S3, 24/3.5, Arca Swiss L60, RRS MC-45, and cat. I could use an iPhone for framing, leveling, and shooting. But I just used a wired release. Did I mention lazy?


:):)

Next time I'll have an assistant!

Matt

You! Shall not! Pass! - without having your picture taken...
 
Last edited:

darr

Well-known member
Not sure if this counts. I can't really get a good picture of me with an 8 foot monopod *taking* the picture. So here is the picture:


If you think about it, an eye-level shot would have the photographer, guitar player, and background crowd all mashed together.

And here is the equipment - Leica S3, 24/3.5, Arca Swiss L60, RRS MC-45, and cat. I could use an iPhone for framing, leveling, and shooting. But I just used a wired release. Did I mention lazy?


:):)

Next time I'll have an assistant!

Matt

You! Shall not! Pass! - without having your picture taken...
Matt,
I like what your doing with that monopod. I could never do it, as physically I do not have it in me. Looking forward to your work ahead! Love the kitty too. 😸
 

Ed Hurst

Well-known member
Posted yesterday in the Fun with MF Images 2021 thread... This one has been a long-awaited project. It's America Bay (an inlet off Cowan Creek), north of Sydney, seen from the Ku-ring-gai Chase National Park. The area is pretty inaccessible at night, so getting this perspective requires a commitment to getting there in the evening then spending the night. Obviously one needs super-clear conditions and a period where the scene is lit (in this case with moonlight and a bit of twilight) - otherwise it just ends up being an undifferentiated black hole - but without overpowering the scene such that the stars would look odd. I have had my eye on this for over a year but it's the first chance that circumstances aligned to do it.

The shot involves four distinct pictures:
1) The sky of course is made up of a stack of files taken for a 90-minute period. Far fewer than my usual quantity because it's a pretty dark place, so I could stack 30-second files instead of the usual massive stack of short ones.
2) The foreground rocks were shot before the scene went dark, in the twilight, with the lens focused directly upon them.
3) The general scene was shot in the moonlight (which set before I started the sky shots). This exposure was 32 mins long, at low ISO. It used a dark frame, so that added roughly another 32 mins!
4) The water and boats. This was shot just after 2), but focused in the distance and on a higher ISO to get them sharp and without bobbing about.
The tricky thing of course was to get all of these elements to sit correctly in lightness, colour balance, contrast, etc..

Here's my set-up in the twilight, as I was shooting 2) from the list above. Pentax 645Z with 25mm DA lens.

signal-2021-09-15-075313_001 by Ed Hurst, on Flickr


And the final result...

America Bay (Ku-ring-gai Chase National Park) by night by Ed Hurst, on Flickr
 

Joe Colson

Well-known member
Ed, amazing. Just amazing. I was duly impressed with your photos before having a description of the behind-the-scenes work involved. Now I'm gobsmacked. Thanks for sharing your work as well as your process.

Joe
 
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