Hokkaido Winter Landscape Adventure 2018 Travelogue #2 (Podcast 605)

Hokkaido Winter Landscape Adventure 2018 Travelogue #2 (Podcast 605)

Continuing our travelogue series from my recent Hokkaido Winter Landscape Photography Adventure tour and workshop, today we pick up the trail on the morning of day three, when we took a walk around the back of our hotel to photograph the blue waterfall there.

This is another of those shots that I pretty much take every year, and haven’t really been able to find a variation that I like more than this composition, but I’m including it to show you what we got up to. The falls are literally blue, although I’ve helped it along with a few tweaks of the sliders in Capture One Pro here. The color comes from the minerals in the water, and the haziness that you can see in this image comes from the warm water that flows into the cold water from nearby hot springs.

Blue Falls

Blue Falls

I actually prefer some drone footage that I shot of the springs after the group had returned for breakfast, but I’ll have to include that in a video at some point. Unfortunately, my Mavic Pro broke a few days after this, so the footage I got was relatively limited. I shot this photograph at f/11 for a four-second exposure at ISO 100, with a focal length of 234mm.

After breakfast, we set off for a 90 minute or so drive to the ski slopes on Mount Asahi. This is something we are able to do if my strategy for shooting the Biei hills and trees in the snow is successful, so I was happy to be able to visit Mount Asahi. As you can see in this next image (below) we had plenty of snow, and I got my 2018 version of one of my favorite scenes.

Mount Asahi Trees

Mount Asahi Trees

I positioned myself to hide the huge metal cable car pillar behind one of the trees to the left, and I cloned out the wires in Capture One Pro. It takes a bit longer to do this in Capture One, but I like the benefit of being able to keep my photograph in raw format, rather than round-tripping to Photoshop and ended up with a large PSD file. Not only are the raw files smaller, I get to benefit from future processing engine updates in Capture One Pro. I shot this at f/14 for a 1/13 of a second at ISO 100, and a focal length of 28mm.

This next image is from a little further up the ski slope (below). I’ve looked at this tree every year, and seem to recall photographing it on my first visit in 2008 on my very first Hokkaido Tour, but I’ve never been able to make anything I like of it, until now. The way the snow was sticking to the tree, and the contrast of the white and dark form seemed somehow more poetic than it’s been to date.

Jazz Dancer

Jazz Dancer

So I could include the entire tree as well as to frame the background without any distractions, I broke out my 11-24mm lens and shot this at 13mm. This, of course, causes quite a lot of distortion in the distant trees, but I’m not too worried about that. I know a lot of people will try to straighten these up, but it doesn’t bother me enough to do so. My other settings for this shot were an aperture of f/14, ISO 160 for a 1/20 of a second exposure.

After visiting Mount Asahi, we stopped at a spot at the base of the mountain and spent some time photographing the trees there. I got some shots that I like of twigs sticking out of the snow, that I’m building quite a collection of. These are nice images, to me at least, but I’m going to skip them for today so that we can keep these series down to just one more episode.

The following morning, we checked out of our hotel in Biei and started our morning drive over to the north-western coast of Hokkaido, where, after a sushi lunch, we had our first shoot at a nice spot with some tetrapods in the sea. I’m going to skip that photo too, to save time, and move on to our second and last shoot of the day, which was at the Torii gate in the sea 30 minutes north of our hotel for the next two nights.

As you can see in this next image (below) as the light dropped at the end of the day, we were able to get some nice shots with the sea water washing around the base of the Shinto gate. For a shot like this, I like to use between half a second and a full second, to leave some form and texture in the water, but also capture its movement. For this shot, I was at 0.8 seconds and used a cable release rather than a 2-second timer, so that I could time my exposure perfectly for the breaking waves and water washing over the concrete base of the Torii.

Konpira Shrine Shinto Gate

Konpira Shrine Shinto Gate

This first afternoon’s shoot was like our insurance visit, as we’d have another full day in the area to revisit, but as you can see from this image, the grey sky indicates a low-pressure weather front. We came back here the following morning, and although the tide was supposed to be higher, the water was way back, and if we wanted, we could have walked out to the gate.

Wintry Stairs

Wintry Stairs

One member of the group provided the answer, which is that the sea level was low because of atmospheric pressure. On a stormy day with low pressure, the sea is able to rise up, but the following day, with a clear blue sky, and therefore high pressure, the sea was being pushed down, despite the tide being higher. We looked back through our records and found that two years ago, we arrived at high tide to find the sea very low, and we also recorded that it was a clear day then too.

It makes a lot of sense, but I was somewhat surprised by the amount the sea is actually pushed down by the high atmospheric pressure. In addition to my 0.8-second exposure, my other settings for this shot were f/14, ISO 100 and a focal length of 55mm.

There was a lot of snow on the eastern side of Hokkaido during this trip, and I had to play human snow plow to forge a way through the snow to get to the Torii gate.

Overnight we had another sprinkling of snow, which in total made a staircase that runs up to the observatory on top of the hill behind the gate look quite special, as you can see in this photograph (right).

The sky was quite bright for this shot, but I exposed to ensure that it didn’t over-expose and then brought the white of the snow back in contrast to the black stairs in Capture One Pro, using the Levels and a Luma Curve.

I’m quite happy with the results and love how much snow has settled on the steps. I don’t think I’d like to try to climb up there, although I don’t know how much more difficult it would have been than my snow plow impression from the previous day.

My settings were f/14 for a 1/40 of a second at ISO 100 and a focal length of 70mm.

As the Torii gate was not worth shooting without the sea washing around its base, we moved on earlier than planned to another location that I like to photograph, where there are some tetrapods half buried in the sand on the beach, as you can see in this next image (below). With it being clear, if I recall, I used a six-stop Neutral Density filter to get a shutter speed of 1.6 seconds to capture the movement of the water as it flowed around the front of the tetrapods into the foreground.

Tetrapod Flow

Tetrapod Flow

Tetrapods with Snow

Tetrapods with Snow

This only happens every few minutes, so again, I was using my cable release to time my shots. I was also conscious of waiting for a wave to break behind the tetrapods, to add an extra element of interest to the scene. I succeeded in getting the timing right on a number of images and have about six left in my selection still. I think this is my favorite, but I have to live with my images for a little while longer before I can whittle that down to my final selection. My other settings were f/16 at ISO 100 with a 60mm focal length.

As the weather looked like it was getting a little cloudier, with some heavy clouds out at sea, towards the end of the day we went back to the Shinto Torii gate to see if the water level had risen at all, but it was still pretty low.

While we were there though, I took the opportunity to make some long exposure photographs of a line of tetrapods in the sea, as you can see in this image (right).

I think I used the six-stop ND again for a four-minute exposure as the light dropped at the end of the day. The result, of course, is very smooth silky sea water and a bit of movement in the clouds. 

I’m doing all of these black and white conversions in Capture One Pro, because I love the tones that I’m able to create in the images, and as I mentioned earlier, it’s great to be able to keep my images in their original raw format. 

I also dropped a graduated adjustment layer across the sky in Capture One Pro to darken that down, and there’s a second adjustment layer along the rocks at the bottom edge, to darken them down a little too,  to add weight and provide a nice anchor for the image.

The following morning we went back to the Torii gate to try our luck one last time, but the sea was still too far out, and really not looking great, so it turned out that the best shots from this year were from our insurance shoot two days earlier. It was a little rushed, but I do like the images from that shoot, so I’m pleased we went. For my participants, of course, I’d have loved to provide a second attempt with high sea water, but although we can control most expects of the tour, we can’t do anything about the weather, unfortunately.

We continued on to our next location, along the way stopping at the spot where there are some practice golf-ball like wave breakers in the sea, but the snow here got the better of me. It just wasn’t possible to forge a way through, so we gave up on that shoot, and continued on to the boat graveyard, one of my favorite spots in Hokkaido.

Boat Graveyard at Sunset

Boat Graveyard at Sunset

The sky wasn’t great on this first visit, but the light was still very nice, especially when the sun broke through the relatively heavy clouds a few times, as you can see in this photo (above). I’ve cloned out a few bits of grass that were in the bottom left corner, and again darkened the sky down a bit in Capture One Pro. I shot this at f/14 with 1/80 of a second exposure at ISO 100 and a focal length of 28mm. Unfortunately, the compression on the blog has caused a sharp step in the gradation around the light of the sun, which doesn’t happen on the original, but that can’t be helped.

The following morning we went back to the boat graveyard, this time luckily we were presented with some sea mist or “kearashi” as they say in Japanese, which you might be able to make out along the horizon in this image (below). Again, shot from the side just a little bit behind the boats, I found this angle about the best to show the detail in the sky and the sea mist, as well as showing us lots of great texture in the foreground snow.

Boat Graveyard with Sea Mist "Kearashi"

Boat Graveyard with Sea Mist “Kearashi”

We generally spend a couple of hours at this location, just working the boats, because I love to wait for a great sky like this. Also the great thing about visiting in the morning is that the sunlight is coming from just to the left of the frame in this shot, so it really helps to create shadows in the troughs that form in the snow drifts behind the boats. 

For some of the shots from this year I removed the fox footprints from the right side, when they didn’t really add anything to the image, but for this shot, I feel as though they add an additional element of story which I quite like, so I left them in on this one. My settings were f/14 for a 1/50 of a second at ISO 100 and a focal length of 70mm.

Before we move on, I want to share one last shot of the boat graveyard, because it’s an angle I’ve not shot before. Shortly before we were due to leave, a number of us climbed up onto the bank beside the boats, and photographed directly towards where the sun was in the sky, but at this point covered by clouds, giving us some beautiful rays above the horizon (below).

Boat Graveyard and Sun Beams

Boat Graveyard and Sun Beams

The sea mist is still just about visible, and when viewed large you can actually see the distant wind farm on the horizon above the boats. This is one of the shots in which I think removing the fox prints helps the shot, allowing us to see just the smooth mound of snow in the foreground and the quality of the light and texture as it darkens towards the corners of the frame. My settings were the same as the previous image but at 29mm now.

After spending a few hours with the boats, we visited the location where we have permission to photograph the fish drying frames that you can see in this next image (below). I’m not totally happy with the line of snow at the base of this image, which is from where the road in front of the frames has been plowed, although this is part of life in Hokkaido during their harsh winter. We had a reasonably nice sky though, which I am happy with, and roughly the same amount of fish drying on each rack which adds a bit of symmetry. 

Fish Drying Frames

Fish Drying Frames

My settings for this image were f/14 for a 1/40 of a second, ISO 100 with a focal length of 76mm. Again, you can tell how low the ambient light is because I was down at 1/40 of a second in the middle of the day. I didn’t do a long exposure here, because I didn’t want to hog the spot, but also because for this particular image I think I prefer the texture in the sky.

After lunch, we spent a few hours at the port at Cape Noshappu near Wakkanai, the norther-most city of Japan. I have some fishing boat shots that I like, but not really any better than previous years. As the sun neared the horizon though, I noticed the possibility of lining it up with the top of the lighthouse, so I quickly made my way across the harbor to a place where I might be able to photograph this.

Noshappu Lighhouse Sunset

Noshappu Lighthouse Sunset

As you can see in this final image for today (above) the sun broke quite strongly through the cloud at just the right time for me to align it with the chamber at the top of the lighthouse where they usually shine the light from, and that along with the rays of the sun in the sky made for quite a dynamic photograph. Being Hokkaido, in the winter, I did try this in black and white as well, but the color really adds so much to this shot, that I decided to leave it in color.

I have brightened the foreground quite a bit, so that we can see the snow on the quay wall and also see the sea a little. Without that it was almost a complete silhouette across the bottom third of the image. My settings were f/14 with ISO 400 for a shutter speed of 1/250 of a second. The wind was really quite strong at this point, and I’d even taken the hood off of my 100-400mm lens to stop it from acting as a sail and catching the wind. My focal length was 158mm.

If I don’t drop a few more as I prepare, I currently have 12 more images to talk about in the final episode of this travelogue series. I have been really struggling to get this recorded and prepare an additional episode before I leave for my first Japan winter wildlife tour in a few days, so next week I will probably interrupt the series and share something that I did on Capture One Pro for the Phase One team recently, and then release the final part of this series as soon as I get back from my second visit to Hokkaido for this season.

Hokkaido Winter Landscape Photography Adventure 2020

If you think you might like to join this tour in the future, either let us know that you’d like to be added to the 2019 cancellation list, or secure a spot on the 2020 tour with special guests Nicole S. Young and Brian Matiash, who will be around to offer advice in addition to me, and will be doing a number of workshop sessions during the course of the tour. For details see our tour page at https://mbp.ac/hlpa

HLPA 2020


Show Notes

Details of the next available Hokkaido Winter Landscape Photography Adventure: https://mbp.ac/hlpa

Music by Martin Bailey


Audio

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Download this Podcast in MP3 format (Audio Only).

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Hokkaido Winter Landscape Photography Adventure Video (Podcast 572)

Hokkaido Winter Landscape Photography Adventure Video (Podcast 572)

I’m really proud to be able to share a video of our 2017 Hokkaido Winter Landscape Photography Adventure Tour with you today. I have been looking forward to releasing this since we completed the tour in January 2017.

I invited Australian videographer Rob Bampton along, to capture our antics during the tour on video, so that I could share what we get up to with you. I have to admit, I was not expecting the results to absolutely blow me away, but they did. I knew Rob was going to do a great job. That’s why I asked him to do this, but at dinner on the last night, Rob showed us a two minute preview of some of his footage, and believe me, the jaw of everyone in the group was on the floor.

Rob then had to go and do some other jobs while he was in Japan, and I went off to do my two Japan winter wildlife tours, so the footage sat until March, when we both freed up a little and could start working on the video. Rob did most of the editing, with some feedback from me, then I did some final tweaking and created the music.

I uploaded the final version of the video to our Vimeo account last week, and I’ve already let many people know via our social channels, but for those of you that listen to the podcast, and don’t follow me on any of the social networks, I’m releasing a placeholder episode of the podcast today, basically to point you to the video.

So, if you haven’t already seen the video, please do check it out below. Grab a drink, turn up your speakers, and go full screen, then welcome to my world.

The video turned out to really capture the essence of the tour, and the feeling of what it’s like to be in Hokkaido photographing the amazing minimalist landscapes that we experience there. Rob was an absolute pleasure to work with. He is professional and fun to be around, and his skill at flying a drone is pretty awesome too, as you’ll see in the video. If you need some videography or photography done, for that matter, check out Rob’s web site at http://www.robbampton.com.au.

I’m pretty proud of the music that I created for this video too. I know that it’s not photography related, but as I know that some of you enjoy creating music too, plus the fact that this just really helps to avoid copyright strikes, even for music that is legally licensed, I am now finding myself creating my own music for videos, as part of my career as a photographer. So, if people are interest in hearing more about my process and tools used, let me know in the comments below, and I’ll put a video together to walk you through the making of my Hokkaido track.

Although we’re selling the remaining places pretty quickly, if you would like to join us for the 2018 or future Hokkaido Winter Landscape Photography Adventure, you can see details and book on the tour page at https://mbp.ac/hlpa.

Hokkaido Winter Landscape Photography Adventure 2018

Hokkaido Winter Landscape Photography Adventure 2018

 


Show Notes

See the video on Vimeo here: https://vimeo.com/215662556

Details of the Hokkaido Winter Landscape Adventure: https://mbp.ac/hlpa

Rob Hampton’s web site: http://www.robbampton.com.au

Music by Martin Bailey


Audio

Subscribe in iTunes for Enhanced Podcasts delivered automatically to your computer.

Download this Podcast in MP3 format (Audio Only).

Download this Podcast in Enhanced Podcast M4A format. This requires Apple iTunes or Quicktime to view/listen.


Photos from the Island Paradise Okinawa (Podcast 349)

Photos from the Island Paradise Okinawa (Podcast 349)

Today for the first time in a while, I’m going to walk you through my thinking as I made a number of photographs during my extended stay in Okinawa recently, after completing the first Pixels 2 Pigment workshop that I did down on that beautiful island.

I flew into Okinawa on August 2, on the tail end of two tropical typhoons that had threatened to keep me from making the flight. The weather wasn’t great for most of the nine days we’d spend there, but as usual, that’s often not a bad thing from a photography perspective, as we’ll see.

Before I left for Okinawa I’d done a search on 50opx for shots from photographers on the island, and one of the things I saw a lot of that I decided I wanted to shot was the stone jetties that we can see in this first image (below). I saw a lot of these throughout the week, but as luck would have it, I noticed this one from the car as we pulled into the town of Onna, where we’d be staying.

Stone Jetty

Stone Jetty

(Click to enlarge images then navigate back and forth with your mouse or keyboard arrow keys.)

I’ve been doing long exposure shots for a long time now, and Okinawa was to be no exception. Here I used my Hoya NDx400 and NDx8 neutral density filters stacked together. For those that might not be familiar with neutral density filters, they basically cut down the amount of light that enters the camera through the lens without changing it’s color at all. The NDx400 cuts out nine stops of light, and the NDx8 cuts out three stops of light, so that gives me a total of 12 stops of darkness, which is necessary to get reasonably long exposures in bright daylight conditions.

If you click on the thumbnails at the bottom of this blog post, you will open the images in a viewer that includes the shooting information, and you can see that this image was shot at f/22 for 100 seconds. The shutter speed without the neutral density filters would have been 1/40 of a second. When using this amount of filtration, I generally compose the image and find the “ideal” exposure without the filters initially, then count out my long exposure based on these exposure settings.

My math is terrible, so I literally just double up the base number until I reach the new exposure. Here for example I would have doubled 1/40 to 1/20, then 1/10, 1/5, 0″4, 0″8, 1″6, 3″2, 6″, 13″, 25″, 50″, then finally reaching 100″ for the correct 12 stops reduced exposure. Another tip here though, as you can see, the camera makes slight adjustments as it moves through the shutter speeds, as in 6″ doubles to 13″ not 12″. I often use the camera, clicking the wheel three times per stop until I get down to something close to 30 seconds, which is the longest exposure I can set on the camera before going into Bulb mode. Then I just double the last few steps for the final exposure.

You can also just ignore the cameras incremental steps, and just double up especially as you will be setting the actual number of seconds on your remote timer, and you aren’t tied to camera increments at that point, but using the camera’s increments helps to get a more accurate exposure and prevents you having to tweak too much, which you don’t want to be doing too many times with long exposures.

I used Nik Software’s Silver Efex Pro 2 for the black and white conversion of course. I won’t go into detail on how to use this today, but you can go back to Episode 297 of this Podcast for a video walkthrough of Silver Efex Pro 2 that I did just under a year ago now.

Artistic decisions that I made when composing this shot were to include the horizon of the sea to put the stone jetty into context, but the jetty was the main subject, so I didn’t need to include much of the sky. I got down a little lower than than eye level, to give us some good detail in the stone, but didn’t go so low that I lost the angle on the jetty. Of course the camera was tilted down for this perspective and shot at 51mm with my 24-70mm f/2.8 L lens.

While I was waiting for a few long exposures of the jetty to run their course, I grabbed my 100mm Macro lens and shot one of the myriad of hermit crabs that were everywhere on the beach at this spot (below). I tried to track and follow this little guy without interrupting his busy day, but he was either scooting all over the place trying to get out of my way, or hunkered down in his shell while I was too close for comfort.

Peekaboo!

Peekaboo!

I eventually just picked him up, and placed the shell down on the sand positioned so that the crab would be facing me like this if he came back out of his shell. And sure enough, after just a few seconds the shell started to raise up and I grabbed a series of frames of which this was one of the last. I actually created an animated GIF image of the entire movement, which I posted on Google+. Here’s a link to that in case you are interested.

There were also some almost transparent crabs that had made little burrows in the sand and I spent some time on all fours using the Angle Finder C to look down into the viewfinder rather than crooking my neck, but while I was over the whole the little buggers didn’t come out. I could see another crab coming out and doing his thing out of the corner of my eye as I waited for one, but then when I moved over to the other burrow, he stayed put and the first one started coming out again.

I was with my wife and had agreed that mornings and late afternoon would be mine for photography, but I wouldn’t spend too much time photographing during the day, so after a while I gave up on this. Had I had more time I’d probably have set my camera up on a tripod and left it focussed on the burrow, then moved away and triggered the camera remotely when the crab came out, but it wouldn’t have been fair to have started all that on my wife’s time.

After these first few photos, we had the Pixels 2 Pigment workshop, that I reported on last week, and then between Monday and Thursday the following week, we continued to head out, often traveling around craft and glassware shops during the day as my wife enjoys them, and then I’d stop every so often on our travels and most evenings, trying not to use up too many of my photography time points.

On the Tuesday, I’d arranged to go and interview Shawn Miller, the underwater photographer that I spoke to in Episode 347, but we were out driving before that and I spotted the white pier at the Busena Marine Park, and just had to stop and get a few shots.

Busena Marine Park Pier

Busena Marine Park Pier

The seas were rough, with perhaps 5 to 7 meter waves, some crashing into the white structure that you can see at the end of the pier in this image (above). I wanted to do a long exposure, but if I went out to a minute or more, I felt as though the effect would smooth the water out a little too much, and we’d lose the sense of the rough seas, so I just used the NDx400 for nine stops of neutral density, and this gave me a 30 second exposure at f/16, ISO 100. I felt this maximized the rough look of the waves and left some texture in the water, which is what I wanted.

Note how I used the rule of thirds here and put the horizon along the top third. I also included the little outcrop of rocks on the far right, showing us that the land was close there, but I didn’t go so wide as to include the wall that started just to the right of the rocks. I often find a hint of what is there is enough. As I’ve said before, photography and composition is often more about what you leave out of the frame, than what you include.

This shot was actually quite a close call as to whether or not to do a black and white conversion, because the sea was a beautiful emerald green, but the black and white won out, as it added some beautiful contrast and enhanced the texture in the water, which is what I was after. In this next photo though (below) which I called “Sleeping Dragon”, I decided to keep the color, as this was less about the texture in the water, and more about the rock texture, and the yellow sand and emerald green sea became supporting actors, and their color helped to tell the story.

Sleeping Dragon

Sleeping Dragon

This was a 55 second exposure, again using only the NDx400, and ISO 100 at f/16, and the photo is straight out of the camera, which by the way was the EOS 5D Mark III. All photos we’re looking at today were shot with the 5D Mark III except the hermit crab, which was shot with the 1D X.

This next photo is probably my favorite shot from the trip. On August 8, David Orr and Shawn Miller met us at the hotel, and took us out for the day. As we drove along the east coast of Okinawa heading north, as soon as we saw the waves crashing against this rock in the sea, we all sprang up in our seats and started looking for somewhere to park David’s car.

Rocks at Sukuta

Rocks at Sukuta

I started off shooting this with my NDx400 and I think also the NDx8 for 12 stops of darkness, but again, the really long shutter speed was not working here. It made things too smooth. I observed the waves for a while and realized that the length of time the water was in the air before it started to fall down again was about one second, so I used just the NDx8 to get a one second exposure.

I usually shoot with LiveView and a two second timer, but that made timing more difficult, and as I was already in LiveView which automatically means Mirror Up mode, I just used my Remote Timer as a shutter release switch to trip the shutter, while keeping my hands away from the camera. The result is the water is recorded in the air just long enough to record the movement, but retain a lot of texture and the clouds have hardly moved as well.

Here is the color version as well, straight out of the camera, so that you can see how much more powerful the black and white image is. The color version is nice, and that emerald green sea is hard to throw out, but the black and white version just works so much better in my opinion.

Rocks at Sukuta (color version)

Rocks at Sukuta (color version)

After the beautiful rocks in the sea at Sukuta, we drove a little further along the coast and David showed me the rock in the sea that he has a beautiful photograph of, that he printed at the workshop. There was a line of islands in the background from the near side of the beach where we stopped, so I walked down to the end of the beach to get a better angle. When I got there, there was still land in the background, so I unzipped the bottom half of my trousers, took my shoes and socks off, and waded around the outcrop.

Tree & Rock

Tree & Rock

The water was deeper than I thought it would be though, so I ended up with sea water coming up to my crotch, and I’d forgotten about the wallet in my pocket, which ended up sodden. I also stood in an ants nest for the whole time I was shooting some long exposures, as I needed to get as close to the other side of the outcrop as possible to stop the rocks to the left getting too close to the larger rock. Standing in the ants nest was probably not the most intelligent thing to do as I didn’t know if there were any poisonous species down here, but I kept looking down and checking my legs, and they didn’t seem interested in climbing on and stinging me.

I think it was all worth it for this shot (above), but I got told off by my wife when we met up with them later. She’d gone on ahead with David’s wife, and she was not pleased when I showed her the contents of my wallet which were all brown now from the tanning in the leather. I sat in the sun wafting the notes around for a while though, and we were pretty much good to go.

Here’s a shot of me walking back down the beach after wading out around the outcrop of land, courtesy of Shawn Miller. Don’t laugh at my pasty white legs, OK!? 🙂

Martin's Pasty White Legs - © Shawn Miller

Martin’s Pasty White Legs – © Shawn Miller

So here’s the last shot we’re going to look at today, which was from the second to last stop of the day. The sun was just starting to turn the sky a little orange as it neared the horizon, and although there was no sunset to speak of, it was casting a faint pink tone across the water, as we can see here.

Alligator's Back

Alligator’s Back

These rocks were pretty nondescript, but I eyed them as I walked along the coast looking for interesting subjects, and once again figured that a long exposure might make something of the scene. This was exactly 60 seconds, with the NDx400, and I really like the affect of the lined up rocks just sticking out of the sea. It looks to me like an alligator just below the surface with the spikes on its back poking up through the surface. You can clearly see these rocks in the sea from this Google map.

We had a great time, and I’d like to once again thank David and Shawn for taking us out for the day, and to David’s wife Naoko, and Pete Leong’s wife Haruna, for coming out with us too and keeping my wife Yoshiko company while us blokes dragged our feet making photographs.

We both had a wonderful time down in Okinawa, thanks to the wonderfully kind people down there, both old and new friends, as well as the locals, who seem to so naturally go out of their way to help total strangers.

Next Week

Next week I’ll probably bring you a review of the new Really Right Stuff 5D Mark III L-Plate and the totally redesigned L-Plate for the EOS 1D X, as well as my new TVC-34L Versa Series 3 Tripod in a Really Right Stuff love-fest Podcast. That will be the last regular Podcast before I leave for the US to continue on my Pixels 2 Pigment workshop tour. During September and October I’ll try to bring you episodes and interviews from the field, as time allows, so do stay tuned for these future episodes, but I apologize in advance for what will undoubtedly be a someone irregular release schedule.

Note too that I was on TWiP+ this week with Frederick Van Jonhson, as well as my monthly co-host slot on the regular This Week in Photo Podcast which will be released tomorrow. Both were a lot of fun, so do check those out as well, at thisweekinphoto.com.


Show Notes

Hoya NDx400 filter: https://mbp.ac/x400

Hoya NDx8 filter: https://mbp.ac/ndx8

Music by UniqueTracks


Audio

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