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Waves hitting the rocks at Zanpa Point. I don't know why, but I've been kind of drawn to this area lately...I even tried not to end up here tonight, but low tide made the first place I tried incredibly boring. I could see the waves breaking up at Zanpa though and jumped in the car to try my luck up at the point.
The sunset ended up being a mild disappointment (clouds got too heavy right at the very end), but the waves were pretty awesome, and with the sky being a dud I don't feel bad processing for a more moody feel. I eventually had to give up from the cold though. Well, that and almost getting hit by a wave as I started to get braver...I decided it was way too cold to come away from this sopping wet and called it a night.
Processing: HDR in photomatix, ran it through Topaz adjust, curves layer, B/W later, original layer overlayed in soft light mode, bit of a saturation boost for cyan and red, high pass sharpening.
Wave in the ocean is never still. Whether observing from the beach or a boat, we expect to see waves on the horizon. Waves are created by energy passing through water, causing it to move in a circular motion. However, water does not actually travel in waves. Waves transmit energy, not water, across the ocean and if not obstructed by anything, they have the potential to travel across an entire ocean basin.
Waves are most commonly caused by wind. Wind-driven waves, or surface waves, are created by the friction between wind and surface water. As wind blows across the surface of the ocean or a lake, the continual disturbance creates a wave crest. These types of waves are found globally across the open ocean and along the coast.
It's hard to fathom the extreme force and energy, it takes to create a wave. Multiply that with wind and rocks and you get something truly spectacular. This was my first time using a vintage Jupiter-21M F4/200 M42 Soviet Portrait Telephoto Lens. I may need to play with this lens some more.
The storms are producing 20 foot waves. This morning it wasn't raining, so I was able to go on the beach. The sight was pretty awesome. Nicer large.
I've been busy and slow to catch up with your photostreams. Hope to visit tomorrow and during the weekend.
ISO 100, 135mm, f8.0, 1/200 sec, handheld. Imagenomic noise reduction, 10% Nik Tonal Contrast, Nik Pro Contrast, burned the water in the front.
Sony NEX-6 + SEL1670Z
Dongbaek island park, Busan, Korea
Copyright 2014 Young Woo Park, All rights reserved.
This latest set of wave photographs marks a significant reversal in my photography practices. Until now, I've basically shot on film almost exclusively for what must be about the last four to five years. A few months back Nikki and I decided that we wanted to photograph wildlife as well as our landscapes and occasional waves projects. Landscapes for me are still my absolute passion. Nothing for me beats being on the side of a mountain, say, with the 5x4 making landscape photographs: I'd rather do this than anything else. For me, photographing landscapes on large format film is king. Pragmatically though, this is not always possible, especially on account of living in the south of England where there are no mountains, or being on holiday in our usual haunt, the north coast of Cornwall. I love shooting film and will continue to do so for as long as possible.
However.
Both of us love the sea, and we also really enjoy photographing waves; the bigger the better! I made the decision about a year ago to try and shoot waves (and later, wildelife as well) on film. To this end, I used a mamiya 645 Super for my initial set of 8 wave photos which, in fairness, worked well I feel. The lack of AF on a long lens made things difficult, and learning from this, I decided to try wildlife with a Nikon F5 and a 70-200 (to start with). Even with "high" ISO film, this was not easy, and shooting with AF on a longer lens really made me think again about my kit for both waves and wildlife. As such, I've decided to go back to digital for waves and wildlife. I find this a real shame, but for these subjects, the advantages of low noise, high ISO shooting is undeniable, coupled with kit consolidation - and hence a lighter pack - and fast AF, VR, and cost of running, it's with a heavy heart that I've given up on film for these subjects. I'll still carry the F5 for scouting and if nothing else, as a backup to my digital body.
So there we are. In this case, practicality won the day :( As said above though, this is all built on a solid foundation of the experiance of shooting LF for landscapes. I'll be doing this for as long as film is made, and you'd have to prize my LF gear from my cold, dead hands :D
This photograph is the 9th in my ongoing waves project, and from just a single trip to Cornwall, I achieved 23 photos that I am happy with, so please stay tuned!
we landed in phoenix earlier this week and arrived in los angeles yesterday; exploring places, having new experiences, creating memories, and of course- taking lots of photographs that I can't wait to share once I arrive back home :)
Friday 7th full sun but cold wind – walk along Agadir beach
We booked a taxi to take us to Souss Massa at 8am tomorrow.
Walked left along the beach, tested the water, very cold!
Army unit blew 'whistls stopping us walking further. (heavily guarded palace beyond)
Returned for rest, read and lunch.
Caught Petit Train to Bird Valley and walked the 5km back to the hotel.
More rest, read before supper.
redo of an older favorite.
Boiler Bay, Oregon
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A surfer catches a wave on an overcast morning at Huntington Beach, California.
I am amazed at the photos that can be captured with a 70-200 mm lens from the pier at the beach. Because of the cool water temperature, the surfers mostly wear wet suits. Most of them are all black, but this one has some blue which, I think, add some interest. The overcast sky probably decreased face shadows and I like when I can capture a surf photo where the details of the face are visible.
Nikon D800
1/2000 sec at f/4 ISO 100 and 200 mm
July 6, 2015
and appears to be most comfortable waving his noodly appendage at us.
Construction information: He was made with a few miles of knitted 4-stitch I-cord with Lion Brand Wool Ease in cream. These were draped and tacked over a stuffed knitted sphere made from the same yarn. Meatballs were spheres fashioned of Lion Brand Suede yarn in a deep chocolate brown (it isn't easy finding meaty-colored yarn...). Two google eyes were attached to the short noodles and some of the noodles, including the eye stems, were wired with craft wire.