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MasterCraft ProStar 197 TT on Tow Vehicle Moving in close provides a unique perspective of a ski boat and its tow vehicle. A circular polarizer filter was used to cut some of the reflections. 24mm f/11.0 1/15s ISO 100 |
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B. Reynolds Falls in the Fall Sometimes the leaves on the ground are more important than the leaves still on the trees. Such is the case in this mostly rock landscape. The 40' B. Reynolds Falls is located deep in the Glen Leigh side of the falls trails in Ricketts Glen State Park near Benton, PA. A B+W MRC Circular Polarizer Filter was used to cut the glare in this image - increasing color saturation. 24mm f/8.0 1s ISO 100 |
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Portland Head Light, Portland, ME The Portland Head Lighthouse is an iconic and heavily photographed subject. For good reason of course. It is beautiful, the scenery around it is beautiful - and it is very accessible. 24mm f/16.0 2s ISO 100 |
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Oneida Falls Above Smaller Falls While you will want to capture the standard, beautiful waterfalls shots, look for ways to vary your compositions. One way to do this is to place the main falls in the background of your image. This of course requires that an interesting foreground subject be found. The main falls in this example are the 13' Oneida Falls in Ricketts Glen State Park. 24mm f/16.0 .8s ISO 100 |
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24mm from the Church Balcony Using a 24mm lens on a full frame camera? This is the view you are going to see when shooting from a moderately-large church's balcony. If shooting from a near-centered position with a near-level camera, you are going to want to take the extra steps needed to shoot from dead center with a completely level camera. I needed to crop a few pixels from one side to finish squaring off this image. 24mm f/2.8 1/25s ISO 320 |
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Deboullie Mountain Rock Slide The small and light Canon EF 24mm f/2.8 IS USM Lens is a great option for traveling light - such as on this hike over and around Deboullie Mountain in Maine. The rock slide along Deboullie Pond is a prominent feature of this area. 24mm f/11.0 1/25s ISO 100 |
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Ski Boat and Tow Vehicle This shot explores the minimum depth of field possible with the Canon EF 24mm f/2.8 IS USM Lens on a full frame body. With a near minimum focus distance on the ski boat and a wide open aperture, the tow vehicle and distant landscape become increasingly blurred as the distance increases. A circular polarizer filter was used for this shot - to decrease reflections/increase color saturation. 24mm f/2.8 1/40s ISO 100 |
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Waterfall Close-Up Picture This is where I learned that my name brand waterproof boots were not as advertised. For this shot, I very carefully waded into the shallow water above a high waterfall to photograph this small, unnamed falls at a close distance. A circular polarizer filter was used to cut reflections on the water and an 8 second exposure provided plenty of motion blur. When exposures reach longer durations, I turn on long exposure noise reduction in the camera. 24mm f/11.0 8s ISO 100 |
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Team Picture -or- Picture of the Word Team Not a typical team picture, but a picture of the word team. The wide open aperture combined with a short focus distance creates a shallow DOF along with natural lens vignetting to focus the viewer's attention. 24mm f/2.8 1/80s ISO 100 |
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Wyandot Falls, Ricketts Glen SP Water drops 15' over Wyandot Falls in Ricketts Glen State Park, framed by a large tree and the rocky foreground. This is an HDR (High Dynamic Range) image composited from two exposures. A CP filter was also used. 24mm f/11.0 1.3s ISO 100 |
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Deboullie Mountain Fire Tower The view from Deboullie Mountain fire tower is incredible. The climb up the tower is rather exciting itself. Especially when your camera gear begins to not fit through the narrowing stairs near the top. 24mm f/11.0 1/40s ISO 100 |
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Marine Embroidery Marine embroidery up close and wide open shows the effects of shallow depth of field. 24mm f/2.8 1/160s ISO 100 |
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Cayuga Falls, Ricketts Glen SP More accurately, this is half of Cayuga Falls. Since I'm usually shooting waterfalls under cloud cover or after the sun sets, I typically get a slightly cool white balance from the camera (slightly favoring blue). I can often get a good custom white balance by using the water itself. After selecting the custom white balance tool, I click on a near-blown white area in the image. I usually try to find a point that has one channel (R, G or B - usually B) that is just below 255 with the other channels having lower values. A CP filter was used for this shot. 24mm f/16.0 .6s ISO 100 |
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