This is one of my favourite photographs from my time at Fox Glacier in the South Island of New Zealand (I have a large framed print on my studio wall). For me this photograph summarises the beauty, power and danger of a glacier. The deep crevices are clearly in frame with their precipitous ice walls; which naturally lead my eye into and through the photograph to the background distant mountains. I also very much like the ‘rip’ in the ice – indicative of the power and pressure of glacial ice as it makes its way down the mountain side. The mist and fog hanging between the mountains in the distance adds the ‘weather element’ that is so much a part of mountain photography. We were fortunate throughout the time spent at Fox Glacier to have wonderful clear weather that allowed us the opportunity to charter a small helicopter for the best possible photographic opportunities.
Canon has kindly provided a number of instructional ‘How To‘ podcasts on their Digital Learning Centre that are well worth a look for IPF printer owners and users. Much of the basics of colour management are covered, along with soft proofing and Canon ‘s printer plug in for Adobe Photoshop.
If your a photographer, you would have to have been living under a rock not to know that the addition of video to digital still cameras is the current ‘big thing’ in traditional still photography. With virtually every new camera released these days having some sort of video capability of varying quality it was only a matter of time before someone announced the worlds first 3D camcorder. Kudos to Panasonic for being the first – even if the price tag is a little on the high side.
The Panasonic AG-3DA1 will ship this Autumn in the USA with a hefty price tag in excess of $36,000 US for the full suite of products.
The comparatively lightweight 6.6-pound camcorder uses dual 2.07 megapixel 3-MOS imagers to record full HD 1080p video in 3D. Even using AVCHD compression, the camera gobbles up about 350MB every minute, requiring dual SDHC card slots to handle the massive outflow of data. With two 32GB cards in place, directors get about 180 minutes of shooting time. Where are you RED?
Additional specifications and Available for Pre-order from Digital Trends
I am going to have to try and get my hands on one of these… Apparently they were a promotional item at the 2010 Winter Olympics. Cool.
Unfortunately the forecast storms yesterday evening did not eventuate. In fact, up until the sun actually set (although I never saw it hidden behind many layers of clouds) it didn’t even rain down at Flinders. The first spatters of rain were just beginning to fall as I was packing up to head back to the car in the dark. As a result there was no dramatic storm lighting or lightning so I decided against the long walk into Cape Shank and instead chose the easier option and walked into the Flinders Blowhole area. I had not photographed here before but the area comprises of the same black basalt rock formations as Cape Shank and offers good easy access. The turn off is poorly signposted so I was hoping the area would not be to crowded being a long weekend. Thankfully there were only a few tourists and several other photographers working the area when I arrived a few hours before sunset; but they all left not long after I arrived.
I often just dive right into shooting when I arrive at a new location; being eager to get a few frames in the can as it were – especially if the light is good and/or changing fast. This time I took a slightly different approach and just sat and waited for an hour or so observing the rock formations and considering potential compositions. I watched the other photographers going about their work and took time to slow things down in my mind. Mental preparation and getting in the right frame of mind is a large component of successful landscape photography. It is sometimes difficult to go from the frenetic pace of life to a slower and more contemplative pace that is more conducive to making artwork. I feel this approach worked and I will make an effort to have more contemplation time and what will hereafter be referred to as ‘staring time’ in my photography.
This photograph was one of only three compositions I shot in the four hours or so I spent down at the Blowhole and it is my favourite. I like the foreground rock; which reminds of a knife block and the curve of the rocky coast leading the eye through the frame. The milky, wispy ocean serves to help soften the harshness of the rocks and its deep marine colour adds dimension. Whilst I would have preferred dramatic storm lighting and some colour in the clouds I nevertheless feel that this photograph works on several different levels.