As a confirmed denizen of the small hours of the morning – an early field trip to the city seemed quite reasonable. I’ll photograph the sunrise from Queen Anne Hill – tunes, car, coffee, camera and tri-pod – off I went.

Now, I realize I shoot with a Lumix point and shoot, have limited patience for technically fiddly things, and don’t own a copy of Photoshop – but that doesn’t stop me from imagining fantastic photos.

Despite my best intentions the results were neither here nor there. I was going to consign this outing to the hard drive, but I’m going to share it anyway. This blog is about photography – it’s not always perfect. I take pictures for fun – so join me in poking some fun at myself.

Seattle is on a hill – but the off true tree horizon could give you motion sickness. I was focused on how big Mt. Rainier is compared to the city… failed to consider the entire frame.

Red monster reaches for airplane? I don’t know what I thought I was capturing, but flat, boring and out of focus is what happened.

Since I was stuck at the crossing anyway – let’s play with the shutter setting. Overexposed sky – oh well, I wasn’t even thinking about the sky when I took the shot.

I won’t subject you to any more for now. I did get a couple worth saving, I’ll share another day. I celebrate the talent and skill of the other photographers contributing to this blog. They have shared some nice work – what they do is harder than it looks.

We all have some mistakes – but keep shooting. It’s a lot of fun.

8 thoughts on “Oops

  1. I wish the still-camera companies would get a clue and add some of the exposure features available on video cameras. On my current A camera, for instance, I can set zebras (slanted lines of different thicknesses and direction) for 100% exposure (beyond which everything is clipped white) and, say, 70% (which is good for proper exposure of the highlights on Caucasian skin) right in my viewfinder. That lets me know instantly what will be pure white so that I can make sometimes decent decisions. I’d say the zebras are slightly better than a histogram, which many digital cameras have available. In addition, I can put up a wave form monitor on my LCD, and that will show me the range of exposure across the entire shot, from clipped black to clipped white. Surely, it wouldn’t be hard to add these things to the still world.

    BTW, I also shoot a fair amount on my Lumix LX3, which is a wonderful, light, and compact camera that takes gorgeous shots. Unless I need to bump the enlargement up tremendously, it’s all I need. The only drawback is that the relatively small sensor gives me more depth of field than I sometimes want, but I can usually live with that and/or work around it. Wish I were shooting more stills these days. Enjoy seeing what everyone else puts up, though.

    • I sat with the manual to my camera this morning reading the section on histograms – maybe I didn’t have enough coffee in me yet – but I couldn’t work it out. Another day, as I said I have limited patience for fiddly things.

      Agreed, I have that LX3 also. It is a genius little camera. You planning to play in the sandbox with us?

      • I’ll post some things when I get a bit of time. Right now, I’m in the middle of a monstrous shoot of semi-biblical proportions for Kimberly-Clark, so all my time and attention are focused on that and on maintaining my other, real estate film business. Plus, I have a pilot for a reality show coming up, and am engaged in pre-production meetings for that, too. So, video has taken over my life. Here’s a rough cut of a six-camera, 22-person cast/crew shoot I just finished, though, if you’ve an interest: http://vimeo.com/48116269

  2. I covered up the “red monsters” to crop out the bottom of the “airplane” frame. What remains is an elegant statement about Seattle and its relationship with the aircraft industry.

    Some of the macro shots I’ll be posting over the next month were shot with a Lumix DMC and a Lumix LX5. They are wonderful cameras.

    • Thanks for the cropped vision of Seattle – that’s what I really meant… 🙂

      Your current series of macros aren’t from those Lumix cameras – I’m sure of that. Lumix is good, but your recent posts knocked my socks off.

  3. Stuart – apparently the number of replies here is limited. That’s an amazing bit of video. I can see how it could have involved 22 people. How many times did you all have to go down the river to knit it all together? Were you ever in the boat? I haven’t been white water rafting in years. It’s a lot of fun though. Stay composed in the busy days ahead. 🙂 small camera joke there… take care.

  4. Thanks Dawn. I think we put the raft through a series of rapids about six times. As you’ve noticed, many of the shots were done without a cameraman in the boat, and some of the shots just had to have one in the boat. We used up to four GoPros, a Canon 60D, and a Canon C300. I took some of the shots from the bank, but the cameraman I put in the boat was the director of photography for both “The Deadliest Catch” and “Whale Wars,” so he had a lot of experience shooting wet (he also has the Guinness Book of Records title for the southernmost dive when he dove and shot footage underneath a ship that was caught in the ice near the Antarctic coast). It’s a very good thing he was in the raft when it ran up on a rock and nearly capsized. He was able to leap out and save about $5,000 worth of camera, lens, and sound equipment, as well as help the actors (well, one of them had floated downstream to be picked up by our chase kayak) get onto the rock and save the raft. And themselves.

    All told, it was pretty exciting.

    • That is very exciting indeed. Your photographer has pretty cool resume – the deck footage from Deadliest Catch always blows my mind. I keep thinking – why are any of you there? Leave the crabs alone and go home. (Sound like a Mom don’t I?). 🙂

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