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Since I had time to collect some potential HDR exposures, generally field time when birding subjects proved slow or were not the primary goal, I’d considered for several weeks
getting back to Pemaquid Point. Oftentimes interesting perching birds and sea ducks can be found here so you always want to be prepared. Bristol had a resident
Northern Hawk Owl a
winter or two ago, a rare sighting that generated a good deal of interest, and the last time I was at the site I obtained the best
White-winged Crossbill images I’d taken up to
that time for archive. I asked if anyone had time or inclination to make the trip, about 1.5 hour drive time from Portland – not far, but all had things to do on a typical
Saturday, so solo it was.
The day started off leisurely enough – I checked the tide chart to have an idea of what to expect, although it didn’t matter too much at this site. High tide was at 1600 hours, about the time I’d be returning probably as I'd be losing the light, so this session would be on the rising tide. I re-checked I had everything I’d need in the field and was on my way… Waves Over Ledge - Pemaquid PointCanon EOS Mark III 1Ds, 1/500 second at 105mm; EF24~105mm f/4L at f/13, ISO 400 |
Although I had my 600mm f/4L lens in the truck and ready for use if I spotted some birds of interest for possible inclusion to my website
Bird Photography Index, today I planned to be a land and seascape photographer. To this end I was thinking
about shorter focal length lenses and what I wished to do. I started out watching the sky over the lighthouse looking north and east. I was seeking cloud cover actually – the sky in
HDR digital captures can make an image compelling should it prove dramatic. It looked like the clouds were moving in so I determined to wait a time and check the scene later. I set up the camera with the TS-E 17mm f/4L
lens, an exceptional prime lens that tilts and shifts for architectural and widefield view applications. You don’t have to either tilt or shift this lens to use it, but with care in
set up it has the advantage of having the entire scene in critical focus. My experimenting with this lens in the last weeks since it was purchased had demonstrated it was a
keeper. There was a lot of winter-blown and leafless shrubbery bordering the topside edge as I looked down that I couldn’t shoot over
to the water below. I set the tripod up high and used a toolbox from my truck to stand on to make the camera adjustments and capture the scenes in this portion of the article. Besides
the 17mm prime, I also had my trusty 70~200 f/2.8L II strap mounted and available, and carried the 24~105 f/4L. I set my panorama system up, leveled everything then focused the scene
with live view at 10X – there’s no auto focus on the 17mm prime, applied some tilt, spot checking both near and far objects for critical focus and was ready to go. I was shooting
everything today in manual mode planning to use ‘storytelling’ apertures – f/16 and higher for depth of field, provided I could obtain sufficient shutter speed...
The View Below...Canon EOS 1Ds Mark III, 1/320 second; TS-E 17mm f/4L at f/18, ISO 400 |
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I took a lot more exposures than what this article will exhibit - much was repetitious as I experimented with the scenes even though this wasn’t the most dynamic, more
exposed side of the point. I changed over to the 24~105 zoom to get in closer on some wave action and will post a few of these here. I’d comment that with the
lighting and color (or lack of) in these scenes, there wasn’t much to be done when enhancing these exposures
Incoming Waves - Pemaquid PointCanon EOS Mark III 1Ds, 1/500 second at 105mm; EF24~105mm f/4L at f/13, ISO 400 |
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Some Information About Pemaquid Point Lighthouse Park...
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After taking a group of exposures of the scenes above from several vantage points, it was time to move on. The primary subject – and like other Maine scenes photographed over and
over since cameras were invented, was the keeper’s house and the lighthouse. This site has other outbuildings as well. It is both interesting and a beautiful scene in a compelling
setting. Pemaquid Point is no undervalued jewel in the State of Maine; it is well known and frequently visited by people from everywhere. This is the third light I’d visited in
as many weeks trying to obtain some exposures before the influx of people commenced in our state. Warm weather wasn’t here yet but it would be coming soon.
I moved the equipment back to my vehicle and thought about composition for the next group of shots before eventually going down on the ledge. The snow was gone and the ground was wet and springtime like, although it was still chilly. I was dressed for the weather and wearing boots – I knew what to expect and wanted to go wherever I thought best. After deciding to shoot from the angle I was observing from the parking lot, I set up for a series of bracketed shots. Keeper's House with the Light Behind...Canon EOS 1Ds Mark III, 1/250 second; EF-24~105mm f/4L, 50mm at f/14, ISO 400, Single Exposure |
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The Keeper's House in High Dynamic Range...
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Multiple volumes have been written about HDR imaging techniques and methods. I don’t intend to get into much detail here, but in case some reading this aren’t familiar with this
process, I’ll describe it briefly. The intent is to capture at least three exposures, one at a normal exposure, one at minus two stops and a third at plus two stops - the exposure order is unimportant. After
exposing the bracketed sequence, checking the histograms will indicate if the information gathered covered the desired spectrum. Some photographer’s bracket anywhere from three
to seven exposures in one or two stop increments for different reasons, but three will work if you check to ascertain the capture. It’s actually fairly simple and most cameras
can be set up to expose brackets or it can be done manually. I don’t wish to simplify the process too much however; composition, aperture, ISO and other camera settings all play
significant parts in a successful image. Like any good photograph getting it right at the camera from the start is critical. After the files are gathered they are combined in
software at the computer and then the sky’s the limit on how you choose to render your version of the scene. This can be anywhere from a photorealistic appearance to a full blown
psychedelic enhancement. I photographed the following scene with the 17mm f/4L prime and 24~105 f/4L zoom for different compositions. As you view the examples for most I posted single
frame exposures followed by HDR counterparts...
Widefield View of the Keeper's House and GroundsCanon EOS Mark III 1Ds, 1/250 second; TS-E 17mm f/4L at f/16, ISO 200, Single Exposure |
HDR Views of the Keeper's House and Grounds...
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Once satisfied with the sequences from the parking lot elevation I moved to the opposite side of the house and outbuildings. The 17mm prime lens was on the camera so I started
closer to the buildings and moved down the ledge as the day progressed. There were people around – not many but enough where the widefield images were becoming an issue without
somebody walking about in view. A group of six or eight people was standing around the pay-as-you-view binocular stand in front of the lighthouse and remained there for a long
time. I’d taken my test shots, set the aperture and shutter speed in manual mode with the bracket ready to go – everything I could do to prepare was completed. It looked like
I was going to have to start again as the time went by, so I walked over and asked if they’d mind moving out of view. I was polite of course, they had every right to do as they
pleased, so I provided several of my cards and said if they’d help me out I’d send them a file or print of the completed image after the fact if they contacted me. I don’t mind
people in photographs generally but motion in HDR sequences is best to avoid in lieu of making corrections at the computer later. Also, the dreaded wind was up on this side of
the site. Anything exposed with bushes and trees in view were going to display movement. It was even worse than I realized looking at the exposures later. As I moved down the
ledge and further from the buildings, the gusting wind was acting on my tripod and many exposures exhibited moment. I was shooting at ‘storytelling’ apertures with slow shutter
seeds and low ISO settings...
The Light and Buildings...Canon EOS Mark III 1Ds, 1/250 second; TS-E 17mm/f4L at f/16, ISO 200, Single Exposure |
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The 17mm Scene in HDR...
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One aspect I enjoy about Pemaquid Point is the detail, striation and color of the ledge - as does everyone else that's every been here. I knew this would be excellent with the proper lighting in photographs. I moved off the
hill and onto the rock for the next group of exposures. I wanted to capture the scene with the buildings and the start of the ledge. The waves were crashing in at the end of
the ledge – it runs from the hill by the buildings directly into the ocean. I tried to keep the system set up low both for composition and to form less of a wind obstruction. It
was starting to become chilly as well so I wore gloves whenever I didn’t need to make critical adjustments. I was pleased with what I’d accomplished so far and was close to
completing my exposure plan.
Light, Ledge and Buildings...Canon EOS Mark III 1Ds, 1/125 second at 50mm; EF24~105mm f/4L at f/16, ISO 200, Single Exposure |
Two HDR Views of the Scene...
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The closer I got to the water the more problematic the wind was becoming. I moved again and set up as low as I could and still be able to compose the frame. I was on my knees when a
few people walked into the scene and stood near the bell in view. And they stayed and stayed… I looked around – there were plenty of other opportunities from where I was, but
I wasn’t inclined to move the tripod after getting the scene composed as I wished. I just enjoyed being at Pemaquid Point for a time and watched the people by the water observing
the wave action. I don’t know how anyone else thinks about it, but photography can be a good deal of work – it is fun for certain and when you view the successful images on the
computer there is a rewarding sense of accomplishment. But all the same I’ve found it requires concentration and attention to detail. Finally the people in view started working
back towards the parking area – I admired their tenacity actually, it wasn’t all that warm outside. I’m going to post an HDR image exposed from this set up, followed by a pair of
vertical enhancements taken afterwards…
View from the Ledge Looking South...Canon EOS Mark III 1Ds, 1/160 second; TS-E 17mm/f4L at f/16, ISO 200, Single Exposure |
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HDR Views from the Ledge...
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Lastly I turned my attention and camera to the water and ledge looking north. I still had the 70~200 F/2.8L II zoom with me and used this for the final shots of the
day. The cloud cover was consistent by now and as it got later I could see the sunlight filtering through the clouds on the horizon. I took a series of exposures including
some bracketed sequences for HDR images. I’ll post examples from the balance of the shots from the day below…
Rock Formation...Canon EOS Mark III 1Ds, 1/40 second at 200mm; EF70~2005mm f/2.8L at f/10, ISO 200, Single Exposure |
Rock Formation in HDR...
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Ledge and Waves...
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Two Single Ledge Exposures Followed By HDR Counterparts...
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Aftermath...End of the Day...Canon EOS Mark III 1Ds, 1/160 second; TS-E 17mm/f4L at f/10, ISO 200, Single Exposure |
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