Game Time!

Ouch, Ouch, Ouch. What a fast and a busy week it was. I miss sleeping so much like a lover missing his heartthrob! I'm missing this opportunity even on weekends (but that's not something new).
My schedule had been busy; so much that I barely had the time to think about my camera and process new images. However, I had the chance to test my new toys a little bit - yet more testing is needed. More to come about that later.

Splashing:

Dimensionality
Canon EF 50mm, f/16,
60^-1sec, ISO 100.

By last week we had one of our first practical outdoors workshop in part of the Philosophy of Light workshop with the group. The appointed location was Shuwaikh beach area. The day was windy and really refreshing. While everyone was struggling with jackets seemed to be I'm the only one who was satisfied with a T-shirt!
I was the first to arrive and started to work straight away with some shots of high-speed flavor trying to freeze the water splashing on the rocks. But soon I've moved to long exposures and ND filters.

Nature Paints
Tamron 70-300mm @228mm, f/40,
0.5sec, ISO 100.

Maybe the exposure in some of these shots didn't exceed 30 seconds but it was hard to achieve even a one second exposure with the sun being tough. I ended up setting up 6 stops of NDs in front of the Tamron lens and trying several shutters. I've cut back to do more high-speed shots and then back to long exposures, and then was able to achieve 8 seconds (mainly because the sun was approaching the horizon and level of light was going down), but after all, I've found out that a half second is just fairly enough to give a surreal look. With the waves being so strong and splashing against the rocks (and almost made me have a full shower too!) it is not necessary to make very long exposures. Even times less than half a second might be quite enough to give the desired look. Lengthening the exposure time with strong water waves would erase most of the features on the rocks and too abstract. After exhausting all my options with the waves, I've simply stood up on the concrete barrier and started to shoot with minimalism in mind as in Dimensionality. To me, at least, this image seems a breakthrough because it is a simple structure, but yet has a depth with a vanishing point in the horizon. Maybe I was lucky? One bad thing back then though is that I didn't get my polarizing filter yet.

Der Sanfte Zorn
Canon EF 50mm, f/1.4, 8000^-1sec, ISO 100

Let's Play!

My new toys have arrived with the beginning of this week, and I didn't have much time to test them thoroughly, but few clicks here and there.

Source: B&H

One of the toys that I was eager to try and learn about is the Infrared B+W glass filter. Even though my camera is not converted (i.e. sensor adjusted to receive IR radiation), yet after some surfing about the topic a bit, seems the only problem with this is the long exposure times required, while the converted cameras would react normally with normal exposure times as in normal cameras. This is what I understood so far.

Canon EF 50mm, f/1.4, 200^-1sec, ISO 100

The title-less image above was captured as I was waiting for the TV crew who were supposed to do an interview for a program on TV with the group's members. As I was waiting I've decided to try some aspect of this filter and even it was hard to be done without a tripod. One of the hard things to do is to match the exposure metering done without the filter to the exposure metering after fixing the filter. In a quick inspection seems the difference is 4 stops. However, such calculations are not quite correct, because the type of the light to be received by the sensor (specially unconverted) is completely different. I imagine metering the light and doing a correct exposure would be done nicely only when the camera is converted, or maybe if there are special light meters that read IR only and compare its level to 18% gray!
The image above looks a typical black and white shot (after being converted from a completely red image), but certain details made me think it made some difference, like the details of the tiny clouds (which were hard to notice in reality) beside the building in the horizon on the far left which looks hazy.
I'm reading more about it for the time being and seems I could achieve more interesting shots by adjusting the white balance instead of converting to black and white. This is what I've inspected by reading so far.

Source: B&H

I didn't get the chance yet to test the polarizer thoroughly, but I got a little chance to test the Kenko extension tubes set. Extension tubes works by allowing the lens to focus in a distance closer than it is on the original lens.
After doing my part with the TV interview (which barely went on well), I've stayed away doing my own trials with the extension tubes on some plant leaf. It is a hard task to shoot with such degree of closeness and zooming without using a tripod of course.

Lamellae
Canon EF 100mm macro + 68mm, f/8, 25^-1sec, ISO 100

I've found it mandatory here to use the on-camera flash to fasten the shutter speed and reduce the shake effect. In the beginning I thought it won't work because usually with such long lens combination, the on-camera flash would cast a shadow on the subject, but probably not here in such close distance. It could be time to use rails (or maybe some parts of my VR-head) to move the camera smoothly on the tripod for- and backward.
This test is still not enough, and I'm eager to implement this with reversing lenses technique and see what effect does it yield, specially with my new 58-58 adapter ring which arrived along with the new toys!

Reality of Shadows
Canon EF 50mm, f/1.4,
50^-1sec, ISO 100.

Away from testing the new stuff (and mainly because it was night time already), the TV work was not over by then and boredom filled my head. Yet, my eyes weren't.
I noticed some decorative plant in one of the corners which inspired me for some shot with a shadow, but the problem was that I didn't bring my speedlites, thus, I had to use the available data-show device with its blue/purple light and projected it onto the pot or vase from the side (after hardly stabilizing it over a couch!).
Maybe what I personally like about Reality of Shadows is the fact that I've used the Fluorescent WB to add more bluish streak to the already-blue light. Yes, I needed to adjust the WB little bit later and reduce/add some saturation for some colors, but the starting point was fair enough. No HDR rendering.

Now for the coming week,  I might have some plans, and a busy schedule too. For sure I need to test more procedures with the IR filter. On the schedule, there is giving my own tips about Photoshop in a special session; it is not a paid service of course, but a friendly help. Also on the schedule, there are plans to get involved in more local expos, and one of them is supposedly sponsored by Kuwait University. Bearing such responsibilities do feel heavy though. A shoulder for a burdened head, is all what I would ask for in such days...

Yonder...

Not bad for a nose job, eh?

Well, a busy week that I don't have time even to upgrade and complete the settings of my new laptop here. Health issues are frequent visitors; headaches, nausea, exhaustion, and the like. Despite the hectic life pace I'm trying to have some fun, as you can see above!

G'faal

The most hectic day if I should say was last Thursday when the group agreed to go to a traditional feast celebrating the ships coming back from long journeys looking after pearls and other goods; as it was in the old days of Kuwait. This day is called Gofaal, or Gaflah, i.e. the ending.
The weather and the condition in general was a bit better than miserable, yet it was awkward anyway. The humidity made it a struggle to step every step, and my eyes started to get irritated and it was even hard to look through the viewfinder. The lenses got foggy and some time was needed so the lenses get used to the weather and the image would clear again. At the end, I got a blast from my 55-200mm which I've used for most of the shots, when it got corrupted and stopped responding in the middle of the action; here and at this moment I've decided to leave the place since it was hard to change the lens, specially in such humidity and such heavy burden with 2 flashes and a camera dangling from my neck!

The group's organizer with his nice shorts!
This image was foggy and almost bleached out completely.

However, there were some nice shots here and there I would say. I didn't stay until the end of the event like the others, but I did the best I can to do something. In such events, you can't help but to drool when you see those big lenses used by my teacher!

My teacher struggling with his camera and bazooka

Even though I did take my 100mm Macro lens with me, yet I didn't use it a lot and the fog kept swirling around it and finally for some reason it stopped responding for focusing attempts. The picture of the group's organizer was taken with 100mm Macro.
Then, I got the chance to change the lens from 100mm to 55-200mm, which was foggy in the beginning then it started to be fine and snapped many shots until suddenly, the old corruption stroke again and it stopped responding with a communication error.

Canon EF 55-200mm @55mm, f/5.6, 2000^-1sec, ISO 400

Most of the shots were done in manual mode and by metering the sea itself. However, to do such shots like the one above, the focusing mode was set to One Shot, or else the focus would move as I move the lens. Without any need to change the focusing zone (which by default is at the center), I've centered on the boy then moved my lens away to frame. Other shots were done in the same manner too.

Canon EF 55-200mm @200mm, f/5.6, 2000^-1sec, ISO 400.

I believe the shot above would have been better with my 100mm at f/2.8, as it would give a better blur and isolation for the distant object. However, right after this shot, the lens started to be erratic and since I've realized there is no hope in making it work again, I've decided to leave the place before the boats reach the shore.
One last fun shot I did take before the boats arrival actually, which some people commented and said it is a suitable as a commercial - which is something I've been thinking of for a while beside working on architectural photography.

Contrast
Canon EF 55-200mm @130mm, f/5.6, 2000^-1sec, ISO 400

My attraction was mainly the yellow and the blue pieces here, hence the title Contrast, and I've never thought about it in an advertisement form. Only when people talked about it, I've realized the possibilities here! I've been thinking of buying some EZcube (or tent) with some lighting equipment and keep them at hand for training and for future product photography maybe, anyway, such expenses now are formidable with my traveling date coming closer. Lot of plans are delayed for now until I come back home then.

Yonder Portraiture

Well, they are no real trials for portraits just like those images taken, but along with the techniques workshop I'm already enrolled in, we came across a training session to do the manual metering. I've been already into that and I've been reading volumes and articles about this subject, however the experience is a bit difference. You got to use only the reflective metering of the camera (no light meter) and in a dark room. Most of the images came out shaky anyway but two of them were particularly interesting.

Sleepy Eye
Canon EF 100mm Macro, f/5, 10^-1sec, ISO 200.

Even though shaky a bit, I guess this one was the most stable shot in the stack of dozens of other shots that were taken successively. I've cropped it in a squared ratio since the space and the skin, as I believe, didn't add much criteria to the whole. It is still somehow out of focus in the middle I guess.
The play here is to add Two Black and White adjustment layers. The first one would control the tones of the iris itself alone (with the help of the layer mask), while the second layer on top would convert the whole image into Black and White and control the global tones. The light that was in use here is a monolight brought by my teacher to the class and the light itself was a subject for a snoot, and a bar-door to control the size of the light circle.

Yonder
Canon EF 100mm, f/5, 10^-1sec
ISO 100

Another shot here which was a trial to do the rim-light effect with the help of manual metering using the Manual mode in the camera, but maybe I've exaggerated with the effect a bit. The side facing the light is maybe out of focus a bit, probably I've should have raised the f-number. The light color is more saturated due to the fact that I've used a Daylight WB, which adds a yellow shade to the image. Lot of people commented that the face of my friend here is a critical factor in achieving the impact on the viewer due to the facial hair and the pose.
The shooting angle here is below pointing to the chin, as I got down on my knee and pointed up to his chin trying to break the boring rhythm of shooting directly on the side of the face.
I guess one of the reasons that keeps me away from doing portraiture is the fact that you need a lot of equipments; that is, lot of lighting. Things are delicate. I wish though I do have an arsenal of speedlites like Syl Arena, but thinking about it further, not all lighting conditions and solutions are available in speedlites. At some point, you would still need to have a monolight and the other junkies!

Night Time!

My favorite part is coming along in the current workshop. Night time photography, and all the accompanying hassle of long exposures. The training might have been a burden for some photographers in the group, but all what mattered for me back then is choosing the suitable spot, and whether or not filters are available at hand.
In the beginning, we had a slight training at the Scientific Center; one of my favorite spots already. After some clicks here and there as the sun was setting down and the sky turning blue, I've been fluctuating between my 18-55mm and my 8mm fisheye. Probably the fisheye in that location is more adequate for capturing the architecture of the place. There was also a tiny training for illuminating the shadows with flash strobes; something like light painting but not exactly the same concept - but merely adding light to the shadowed or dark areas to make a balanced shot. Also, our teacher taught us a funny way to partially block the highlight region by moving our hands in that portion so fast and avoid blowing out the exposure in that region (since our metering is done for midtone).

Rokinon 8mm fisheye, f/8, 5sec, ISO 100
No Correction

After correction with DxO Optics

One of the shots that got my teacher's interest is the one above. I didn't name it since most of these training shots were done merely for training purposes and not to be uploaded to stock sites. Anyway, my teacher seems like me, one fond of fisheye lenses. He likes it but wanted me to elevate the camera up a bit (probably to move the small columns level downward). My tripod didn't help in such level, and in fact this shot was taken balancing the front of the lens on a bottle of water laid flat on the ground! The body was on the ground completely. So far, I think the original version better than the corrected one: it's compact and the gate appears larger and occupies a better proportion of the image. However, it was worthy trying it out and compare.
Beside those shots done in the Scientific Center, which were done in a windy weather, we headed the next day to Shuwaikh Beach area to do some long exposures with ND filters. It was training as well but it was helpless for me as the decent angles to shoot the water splashing against the rocks needed some effort to go on down the rocks and concrete barriers; a shaky situation that I didn't like to try with my tight jeans!
However, the evening didn't pass without shots here and there. We tried doing silhouettes and I took the chance myself to goof around with some abstract and some handheld panorama done with Rokinon's 8mm fisheye lens. Amazingly though, the handheld panorama, after stitching, looked more like a single portrait shot!

Brick Art
Rokinon 8mm fisheye, f/3.5, 200^-1, ISO 100

As I was listening to my teacher explaining some aspect of the long exposure calculations and considerations, suddenly these bricks caught my eyes (ADHD?) and I've decided to roam around them taking pictures from different angles, and this angle in Brick Art is the one that I've liked the most, and I've done some cropping on the left side to keep the bricks in one third of the image as much as possible. One of the blessings and curses of using a fisheye lens is the fact that you can get a suitable depth of field with a minimum f-number (f/8 or f/11 would be enough sometimes), but it's hard to get a decent blurred background or a decent isolation for the foreground when you use a low f-number. This is apparent in Brick Art as I've used f/3.5 with a minimum focusing distance of 30cm (~1 ft), and yet the background is blurred, but not in a rough manner. Would I be using my Canon's 15mm fisheye lens in f/2.8, I think the situation would be the same. I've tried the 15mm before as I was trying to do a certain panorama with an idea of isolating the foreground, but it didn't quite work out well.

Now, as I'm typing these words on Wednesday to be posted on Thursday, I'm supposed to go and do some long exposure on my own by at sunset time, and my teacher agreed that I would do it in my favorite location, the beach area in Salmiyah. I don't know what results to expect, as the water will be regressing then, anyway maybe I will have some results to add by next week's post. I'm planning already to use my Tamron 70-300mm, to be at a safe distance from the water and have a higher f-number as much as possible. Yet, I'm not sure what composition I'm running after. I have to be on location.

Well, this is all for now, and I'm waiting for the workshop to be over with soon, in order to have a decent time with myself to prepare and get ready for the travel in October. I've signed for the leave already and boy I do need some cash on me already.
My stuff are scattered around and it's hard to chase after them piece by piece, just like it is with my own life. I think getting busy with such stuff is far better than spending valuable time daydreaming, but I'm exhausted. So damn exhausted...