by Steven Fudge (One Stop Photo Workshops tutor for Brisbane)
This lone mangrove has been much photographed over the years by various Brisbane and south-east-Queensland-based based photographers. It holds a certain charm for many and for myself – well, I’m just a sucker for trees in water, dead or otherwise! This one and its brother are currently still very much alive.
To shoot this tree requires a bit of planning and forethought. First up you have to decide what kind of image you would like to produce as an end result: a pared-down minimalist representation, or one that is more inclusive of the surrounding landscape. To explain further, this tree and its close brother/sister are surrounded by rocks, which can add to the image or detract depending on your style of shooting and processing. Also two headlands can impinge on the image, so to clone or not is another decision to be made. Personally my preference is to keep the tree as the main focus by excluding all other distractions.
An important first step in photographing this area is to visit it at low tide to get the lie of the land/water/rocks. As it is in a sheltered bay, there is mud across all surfaces and the rocks are slippery, so grippy shoes that you don’t mind getting wet and dirty are a must….as are a pair of shorts as you are going be up to your knees and more in murky water . Don’t even think about bull sharks…
After shooting this a year or so back with minimal success I decided the time was right to give it another crack. First stop was the tide chart – I wanted the tree to be surrounded by water, which meant taking a cold bath in Moreton bay, pretty much up to my thighs in water and I’m 6 foot 2. If this isn’t your idea of fun then you ain’t gonna get this image… not even with a zoom from the shoreline. The tide has to be within two hours of high on either side to be sure of plenty of water around the tree – I chose to shoot it on an incoming tide so the close rocks were submerged. You can always clone out the rocks later if they aren’t covered with water but I’d prefer to get it right in-camera. Second, I wanted calm weather (ie. NO WIND!) or the leaves would move resulting in a blurred image. Thirdly I wanted grey skies – I had seen a few blazing sunrise efforts which are fine, also some star trails, but I feel the sky distracts somewhat from the reason you are there…to shoot this beautiful lone mangrove.
So you can see it takes some planning to get these requirements to coincide.
Well they did all coincide for me so after an early start to allow for the one hour drive to Deception Bay, I arrived in the dark with flashlight ready and headed down into the cold waters. At first there was only a trickle of water over the muddy rocks, but the tide rises quickly over the intertidal flats and the tree sits around 80-100 metres from shore, so I mapped out an exit route in case I had to make a quick retreat. The sky was perfect – a grey storm front was approaching from the south-east, so no colours around at sunrise but I knew I wouldn’t have long before the rains hit.
I wanted to shoot the scene as a panorama, so worked out my two positions on the rail. I also wanted to capture the scene with a long exposure to smooth out the few ripples in the water. There was hardly any breeze about so the long exposure wouldn’t cause any serious blurring of the tree’s foliage.
Shooting in the dark like this, it really pays to know your camera and which f-stop is going to give the right exposure time in the available light. When capturing multiple exposures for a panorama, you want them to be well balanced and matched, and as the light is changing by the second at first light, you have to work quickly to achieve this. You can get fairly close to the tree so a wide angle lens is ideal. I use a medium-format camera and captured the two exposures with a 35mm lens which is my widest – it’s equivalent to 28mm on a full-frame dSLR camera (remember though a medium-format sensor has around 30% more real estate than a full-frame dSLR sensor). I print large and wanted a big print, hence the panorama, but it can be shot as a single image with a wide angle lens.
Tide is coming in, clouds and rain are approaching and the sky is getting lighter. Staying calm and focused is important – yes, you can sit and breath and do some Yoga, meditate, listen to the mosquitoes buzzing around your ears, watch the sunrise and take in your surroundings…but you need to be on the ball because the next suitable combination of tide and weather to shoot this might be six months away.
I was lucky – it all panned out how I had planned it (or at least had hoped for) and that’s all you can do. Weather forecasts are often wrong, but this one was pretty good. I only got the one panorama that morning but my planning and forethought paid off and I was happy with the result.
Lastly I would like to add that shallow coastal ecosystems like this are very fragile. Mangroves survive the daily tidal floodings with pencil like air roots so they can breathe oxygen and also excrete the salt from the water when flooded, so care must be taken to not disturb or damage these roots. As an instructor for OSPW , I can take/teach anyone who would like to shoot this and make it easy for you, just follow the links on the website and make your booking with me.
In part 2 of this article, I will describe the methods I used to process and arrive at the final image.Continue reading
by Bob Simpson (One Stop Photo Workshops tutor for the Sunshine Coast)
In June this year I spent a few days camping at New England National Park near Armidale in New South Wales. It was only the second time I’d been there, the first being in 2012 when I arrived to a drizzly 4°C in the middle of the day….the temperature did get up to 8°C the next day but not for long! But despite the chilly weather, the variety of great mountain and forest scenery got under my skin and I’d been looking forward to a return visit as soon as I could make the time.
The image above was captured along Tea Tree Creek, not far from Thungutti camp-ground, on my latest visit to New England NP. I’d walked the Tea Tree Creek track before and found the photo opportunities for general creek-scapes somewhat limited. The creek is narrow and overgrown so it can be hard to find compositions that aren’t cluttered with branches and foliage. I’d heard the sounds of this waterfall on my first visit, but it was hidden away from view of the track and there was no obvious way to get down to it, so I bypassed it to look for other options.
This time I was keen to investigate further, so following the sounds of rushing water I headed off into a tangle of shrubs and vines. After skirting around a steep rocky slope I eventually made it down to the creek downstream of the falls. Mossy rocks and slick, wet logs made every footstep treacherous, but after five minutes of slipping and sliding, I reached the base of Tea Tree Falls.
My first good view of the falls was through a tunnel of overhanging trees and fallen logs as you can see in the image above. This immediately looked like an interesting composition, but I decided to explore further and after scrambling over the big log in the foreground, I had a clear view of the four metre high falls and its sandy plunge pool. I found a spot to take off my pack and sat down for a drink and to take in the surroundings.
While it was a special moment to sit quietly and absorb the sights, sounds and smells of these little falls hidden away from the rest of the world, I could see that it would be difficult to find a clean composition that would do the scene justice. The plunge pool was shallow and littered with woody debris from the forest upstream – the sort of thing you’d expect in a natural setting, but also the sort of thing that can look messy in a landscape image. I set up my camera and tripod and framed and captured several compositions, and then headed back to the tunnel-view through the trees.
It took some manoeuvring to find a stable place for my tripod – it had to be set down low to get a clear view of the falls and the legs were perched precariously on a tangle of wet, springy flood debris. There weren’t many options to vary the composition, other than moving forward or back on the same line of sight, and I settled on this one that includes the mossy log in the foreground to frame the falls and put them in the context of their surroundings. Even though it is still a cluttered composition by most standards, the clutter serves the purpose of framing the falls and providing some bold and interesting shapes in the foreground – at least I’m hoping that’s how people see it!
With my zoom lens set at 40mm and f16 for front to back sharpness, and camera set to ISO200, I captured three bracketed shots spaced at two-stop intervals. Even with a cloud cover the falls were much brighter than the heavily-shaded foreground logs and foliage, so later in Photoshop I blended two exposures (0.6 seconds and 2.5 seconds) to produce a more balanced final image.
There is an article about photographing waterfalls on my website – you can read it here.Continue reading