California's Eastern Sierra & Yosemite

23 24 25 26 27 28 29 October 2017

Introduction

These are photos from workshops I helped lead in California's Eastern Sierra and in Yosemite in October 2017.

My Camera

I brought my new Nikon D850 and my Apple iPhone 7 Plus.

I brought my 1990s Nikon 18mm f/2.8 AF-D, my 1980s Nikon Pancake-NIKKOR 50mm f/1.8 AI-s and my current Nikon 28-300mm VR.

The Square

I'm a huge fan of my Hasselblad's square format, and when I realized that my new Nikon D850 offers a new as-shot square crop setting that I can see in the finder, I was hooked. The iPhone has also offered square crops for quite a while.

My Nikon 18mm f/2.8 AF-D cropped square on my Nikon D850 takes the same pictures as my ZEISS 40mm f/4 DISTAGON T✻ FLE on my Hasselblad, so I was hooked. My D850 automatically corrects distortion, so I also had the ruler-straight lines I take for granted with my 40mm T✻ DISTAGON and 38mm T✻ BIOGON.

The square is a very intellectual format. It shows you that the artist probably was very deliberate in whatever he was doing, as opposed to just snapping away with whatever shape the camera handed him.

The square lets subjects breathe. It doesn't cramp the top and bottom, as do horizontal shots, or squeeze them in on left and right as do vertical shots. Imagine blowing up a balloon; things naturally like to fill a square or circle.

I share Ansel Adams' love of the square format for its practicality: it's easy to crop any horizontal or vertical shape from the big square negative, and here's the clincher: you never have to rotate the camera! Just shoot square, and you can crop whatever you need later. Ansel shot almost everything for most of his life after his earliest years on his Hasselblad, and unlike here and in the Hasselblad ads, always cropped to whatever shape he needed. DSLR and mirrorless 1.5:1 (3:2) sensor aspect ratios are an obsolete holdover from the first botched 35mm still film format where Barnack simply jury-rigged a movie camera to shoot two four-perf 24 × 16mm frames to give one eight-perf 24 × 35mm image. It's always been too wide for most things, but when Nikon proposed to correct it to a proper 24 × 32mm (4:3 ratio) back in the 1940s, Kodak successfully lobbied congress to prevent Nikon from importing it — because it would have given us 40 shots on the same 36 exposure roll, and saved us from so often cropping-off the side, or the top and bottoms of vertical shots.

There is no universal "best" aspect ratio, but something around 4:5 or 4:3 (like micro 4/3 and iPhone) makes the most efficient use of a sensor with usually the least cropping to arrive at our final work. One ought never compose to the restriction of a camera's frame; one should imagine the finished work and print it in whatever shape tells the strongest story.

The Craft

I only used a tripod for exposures longer than 10 seconds. Otherwise I simply hand-held; the VR system in my 28-300mm VR works wonders.

Most of these works received significant artistic input in Photoshop CS6, the Perfectly Clear plugin and Snapseed until they look as I originally imagined in my mind's eye.

Images aren't captured by a camera; they are created in an artist's imagination. Therefore you'll notice that these images pretty much look the same regardless of which camera I used.

23 October 2017, Monday

Faceless Red Sign, Los Angeles, 9:28 A.M. Apple iPhone 7 Plus at 6.6mm, f/2.8 at 1/1,546 at Auto ISO 50, Perfectly Clear v3.5. bigger.

Carl's Junior, 12:44 P.M. Apple iPhone 7 Plus at 4mm, f/1.8 at 1/40 at Auto ISO 25, split-toned print. bigger.

Decaying Side of Acid Tank, Abandoned California Mine, 4:12 P.M. Nikon D850, Nikon 28-300mm VR at 70mm at f/6.3 at 1/250 at Auto ISO 64, Perfectly Clear v3.5, split-toned print. bigger or full-resolution.

Big Mess of Wood, Abandoned California Mine, 4:29 P.M. Nikon D850, Nikon Pancake-NIKKOR 50mm f/1.8 AI-s, f/5.6 at 1/50 at Auto ISO 180, Perfectly Clear v3.5, split-toned print. bigger.

Corrugated Steel with Bullet Holes, Abandoned California Mine, 4:38 P.M. Nikon D850, Nikon Pancake-NIKKOR 50mm f/1.8 AI-s, f/8 at 1/100 at Auto ISO 64. bigger or full resolution.

Colorful Steel with Bullet Holes, Abandoned California Mine, 4:40 P.M. Nikon D850, Nikon Pancake-NIKKOR 50mm f/1.8 AI-s, f/8 at 1/200 at Auto ISO 64, Perfectly Clear v3.5. bigger or full-resolution.

Inside a Creepy Abandoned California Mine, 4:48 P.M. Nikon D850, Nikon 18mm f/2.8 AF-D, f/7.1 hand-held at 1/20 at ISO 200, Perfectly Clear v3.5, split-toned print. bigger.

The Great Pumpkin, Bridgeport, 6:19 P.M. Nikon D850, Nikon 18mm f/2.8 AF-D, f/2.8 hand-held at 1/20 at Auto ISO 1,000, Perfectly Clear v3.5. bigger.

Ken Rockwell in Bridgeport, 6:20 P.M. Apple iPhone 7 Plus self-portrait camera at 2.9mm, f/2.2 at 1/20 at Auto ISO 250, Perfectly Clear v3.5. bigger.

Redwood Motel, 6:23 P.M. Nikon D850, Nikon 18mm f/2.8 AF-D, f/2.8 hand-held at 1/20 at Auto ISO 140, Perfectly Clear v3.5. bigger.

Motel Parking Lot at Dusk, 6:29 P.M. Nikon D850, Nikon 18mm f/2.8 AF-D, f/4 hand-held at 1/20 at Auto ISO 2,200, Perfectly Clear v3.5. bigger.

Bodie Hotel at Dusk, 6:32 P.M. Nikon D850, Nikon 18mm f/2.8 AF-D, f/4 hand-held at 1/20 at Auto ISO 450, Perfectly Clear v3.5. bigger.

Mono County Court House after Sunset, 6:33 P.M. Nikon D850, Nikon 18mm f/2.8 AF-D, f/4 hand-held at 1/20 at Auto ISO 1,000, Perfectly Clear v3.5. bigger.

24 October 2017, Tuesday

Sunrise over Mono Lake, 7:17 A.M. Nikon D850, Nikon 28-300mm VR at 300mm at f/7.1 hand-held at 1/200 at Auto ISO 100, Perfectly Clear v3.5. bigger.

Speeding Truck Passes Conway Summit, 7:20 A.M. Nikon D850, Nikon 28-300mm VR at 78mm at f/11 hand-held at 1/40 at Auto ISO 200, Perfectly Clear v3.5. bigger.

Orange and Blue, 7:20 A.M. Nikon D850, Nikon 28-300mm VR at 116mm at f/11 at 1/125 at Auto ISO 64, Perfectly Clear v3.5. bigger or full-resolution.

Triangular Rock, 9:48 A.M. Apple iPhone 7 Plus at 6.6mm, f/2.8 at 1/263 at Auto ISO 20, Perfectly Clear v3.5, split-toned print. bigger.

Lee Vining Falls, 11 A.M. Apple iPhone 7 Plus at 6.6mm, f/2.8 for 2½ second time exposure (actually 1/580 at Auto ISO 20 with a little bit of Apple magic), Perfectly Clear v3.5. bigger.

Green and Blue, Power Plant Lake, 11:45 A.M. Nikon D850, Nikon 28-300mm VR at 36mm at f/11 hand held at 1/40 at Auto ISO 800, Perfectly Clear v3.5. bigger.

Gold and Blue, 12:03 P.M. Nikon D850, Nikon Pancake-NIKKOR 50mm f/1.8 AI-s, f/8 at 1/125 at Auto ISO 64, Perfectly Clear v3.5. bigger or full resolution (warning: 25MB JPG).

Padlock on Wooden Door, Bodie, 2:45 P.M. Nikon D850, Nikon Pancake-NIKKOR 50mm f/1.8 AI-s, f/11 hand-held at 1/80 at Auto ISO64, Perfectly Clear v3.5, split-toned print. bigger or full-resolution.

Circular Saw Blade with Teeth on Wooden Door, Bodie, 2:51 P.M. Nikon D850, Nikon Pancake-NIKKOR 50mm f/1.8 AI-s, f/8 at 1/160 at Auto ISO 64, Perfectly Clear v3.5, split-toned print. bigger or full-resolution.

The Mortician's Kitchen, Bodie, 3:01 P.M. Nikon D850, Nikon 18mm f/2.8 AF-D, f/16 hand-held against a window for three seconds at ISO 200, Perfectly Clear v3.5. bigger.

Big Mess of Wood in Bodie, 3:17 P.M. Nikon D850, Nikon 18mm f/2.8 AF-D, f/16 hand-held against a window ledge for three seconds at ISO 64, Perfectly Clear v3.5. bigger.

25 October 2017, Wednesday

Tufa before Dawn, Mono Lake, 6:59 A.M. Nikon D850, Nikon 18mm f/2.8 AF-D, f/2.8 hand-held at 1/20 at Auto ISO 220, Perfectly Clear v3.5. bigger.

Yellow at Silver Lake, 10:26 A.M. Nikon D850, Nikon 28-300mm VR at 28mm at f/7.1 at 1/200 at Auto ISO 64, Perfectly Clear v3.5. bigger.

Sunstar and Golden Leaves at Silver Lake, 11:26 A.M. Nikon D850, Nikon 18mm f/2.8 AF-D, f/22 hand-held at at 1/30 at Auto ISO 64, Perfectly Clear v3.5. bigger.

Two Upside-Down Rowboats, 11:32 A.M. Apple iPhone 7 Plus wide camera at 4mm, f/1.8 at 1/5,319 at Auto ISO 20, Perfectly Clear v3.5, split-toned print. bigger.

Sunstar and Golden Leaves, 3:44 P.M. Nikon D850, Nikon 18mm f/2.8 AF-D, f/16 hand-held at 1/40 at Auto ISO 64, Perfectly Clear v3.5. bigger.

Fire Tree, 3:49 P.M. Nikon D850, Nikon Pancake-NIKKOR 50mm f/1.8 AI-s, f/8 at 1/125 at Auto ISO 64, Perfectly Clear v3.5. bigger or full resolution.

Open Vacancy, Virginia Creek Settlement, 8:11 P.M. Nikon D850, Nikon 28-300mm VR at 28mm at f/3.5 hand held at 1/30 at Auto ISO 800, Perfectly Clear v3.5. bigger.

Bridgeport under Starlight, 9:01 P.M. Nikon D850, Nikon 18mm f/2.8 AF-D, f/2.8 for 30 seconds at ISO 6,400, Perfectly Clear v3.5. bigger.

26 October 2017, Thursday

Hot Springs at Dawn, 7:41 A.M. Apple iPhone 7 Plus tele camera at 6.6mm, f/2.8 at 1/160 at Auto ISO 20, Perfectly Clear v3.5. bigger.

27 October 2017, Friday

Starry Sky in the Merced River, Yosemite Valley, 11:18 A.M. Nikon D850, Nikon 28-300mm VR at 180mm at f/9 hand held at 1/100 at Auto ISO 64, Perfectly Clear v3.5. bigger.

The Face of El Capitan, 2:46 P.M. Apple iPhone 7 Plus 4mm wide camera, f/1.8 at 1/2.591 at Auto ISO 20, Perfectly Clear v3.5, split-toned print. bigger.

Backlit trees at El Capitan Meadow, Yosemite Valley, 3:31 P.M. Nikon D850 HDR Mode hand-held, Nikon 28-300mm VR at 40mm at f/8 at 1/60 at Auto ISO 64. bigger or camera-original © file.

28 October 2017, Saturday

Vivid Yellow Tree by the Merced River, Yosemite Valley, 8:30 A.M. Nikon D850, Nikon 28-300mm VR at 36mm at f/8 hand held at 1/20 at Auto ISO 400, Perfectly Clear v3.5. bigger or full-resolution.

Tree against the Merced River, Yosemite Happy Isles, 11:38 A.M. Nikon D850, Nikon 28-300mm VR at 105mm at f/8 hand held at 1/60 at Auto ISO 360, Perfectly Clear v3.5. bigger.

Ahwahnee Hotel Interior, Yosemite Valley, 12:48 P.M. Nikon D850, Nikon 18mm f/2.8 AF-D, f/11 hand-held at 1/10 at Auto ISO 4,500, Perfectly Clear v3.5. bigger.

Yellow Ford Galaxie in Fall Color, Yosemite Valley, 1:54 P.M. Nikon D850, Nikon 28-300mm VR at 28mm at f/3.5 hand held at 1/15 at Auto ISO 64, Perfectly Clear v3.5. bigger.

Hinge on Wood, Yosemite Valley, 4:17 P.M. Nikon D850, Nikon 28-300mm VR at 56mm at f/4.5 hand held at 1/30 at Auto ISO 140, Perfectly Clear v3.5, split-toned print. bigger.

Yosemite Valley by Moonlight, 9:28 ～ 9:34 P.M. Nikon D850, Nikon Pancake-NIKKOR 50mm f/1.8 AI-s at f/4 for 8⅙ minutes at ISO 200, Perfectly Clear v3.5. bigger or full-resolution.

This is shot with NO long-exposure NR. I don't have the time to wait for it, and as you can see it's unnecessary with eight-minute exposures. The valley was hazy from all the campfires; the D850 is precisely capturing what's there.

The lights on the lower right are passing cars in the valley, and you can see lights of climbers on the Half Dome in the full-resolution image.

Yosemite Tunnel View by Moonlight, 9:53 ～ 9:57 P.M. Nikon D850, Nikon 18mm f/2.8 AF-D, f/4 at 4 minutes at ISO 800. bigger or camera-original © file.

This is shot with NO long-exposure NR. I don;'t have the time to wait for it, and as you can see it's unnecessary with four-minute exposures.

The D850 makes time exposures easy: just set the TIME EXPOSURE mode, press the shutter, and press it again whenever you want the exposure to end. No longer do we need to find and attach an expensive remote cord; now we can shoot these any time without vibration or needing mirror lock up. See my D850 User's Guide for how to use the Time Exposure mode.

29 October 2017, Sunday

Crazy Hair Day, Yosemite Valley, 8:18 A.M. Apple iPhone 7 Plus 6.6mm tele camera, f/2.8 at 1/60 at Auto ISO 160. bigger.

Orange Leaves Backlit against Blue with Sunstar in Stoneman Meadow, Yosemite Valley, 12:08 P.M. Nikon D850, Nikon 28-300mm VR at 28mm at f/22 hand held at 1/15 at Auto ISO 90, Perfectly Clear v3.5. bigger.

El Capitan in Last Light, Yosemite Valley, 5:52 P.M. Nikon D850, Nikon 28-300mm VR at 48mm at f/11 hand held at 1/25 at Auto ISO 100, Perfectly Clear v3.5. bigger or full-resolution.