David Baker - Wave line
I’ve found that 0.3 seconds is an appropriate exposure for capturing textures in windy seas. At two seconds for example, much of the wave detail is stripped, although such an exposure is excellent for recording wave trails. I usually use a Lee 0.9 ND and reverse a 0.9 grad at f/11 (and sometimes ISO 50), to help get the exposure down to a respectable amount. I tend to underexpose to help the sky retain some detail and besides I like a dark image despite the noise potential. In addition, 300mm allows me to get right into the sea. I usually take most of the Sea Fever images from a very low viewpoint to help a sense of height in the sea and to remove a horizon, and often lay on the beach with the Gitzo flattened. There is also the case of using judgement to anticipate a wave but you can never precisely predict how things are going to turn out.
I try to look for relationships between the waves and aim to have at least a ‘stack’ of foreground or central wave and I really love a crest at the back of an image. I like a fair amount of blur due to the slow shutter speed and rear sharpness is of no concern. In this image, I’ve focussed on the right hand crest of the immediate wave stack and consequently everything beyond that decreases in sharpness.
Marilyn Minter at Regen Projects
mine / Sunflower
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Alexander Gronsky (b.1980, Estonia/Latvia) - Mountains & Waters
Shan shui, the Chinese word for landscape, is a compound of two symbols : for mountain (山) and water (水). Being part of Ying Yang duality, water signifies emptiness and mountain stands for matter. The traditional Shan shui painting that evolved from this vision is not a representational image of a specific place or landscape, but rather a metaphor of a human journey through a constant shift between nothingness and form. Westerm concept of depicting time and space is not relevant here: point of view is moving throughout the image in search for the “angle of totality” as the essence is not visible from a single viewpoint. It is not an open window for the viewer’s eye, but an object for the viewer’s mind. Painting is regarded as a means of conveying a sense of the totality of the natural order - of the cosmos itself. The same human figure may appear in different parts of the picture, we accompany it wandering through the hills, same mountain may be shown from different sides simultaneously as it is not a moment in time, but rather a time span. These paintings are not about variety of things around, but about one thing that is always present. All of them together create a single continuous path. The path for a true landscape.
[more Alexander Gronsky]
Manuel Alvarez Bravo