joseph_ho

this shot is uses efffedctivly timeing, weather, and composition to present a very secluded mood and a halo of mafnificence.

technically, i would like to see a cleaner shot. look forward to seeing more of your work.

this is a fantastic image. i would prefer the moon to be in the top right intersection of thirds but i am not sure if you could have gotten such an angle to work while you where out there.

i have technical question. your exposure appears to be about 30 sec or so from the look of the water but the moon appears to be stationary. i have just developed some 30 sec exposures with the moon in the frame and it is obviously blured from its orbit. did you do anything to circumvent this?

here is one of my snapshots from an early morning trip to letchworth

to shoot a sunrise. i spent some time snap around with my digital

after the main shot. i like this one because of the focus of its

compisition. instead of shooting the entire fall, i tried to isolate

one element at a time. i like how the speed of the falling water and

shutter speed came together to streak the falls slightly but still

resolve the breaks on the water's surface. i feel that the mist

dissapating to the right really helps support the action of the water.

i thought it was an awsome machine, then i spat at it and decided it

was the coolest thing i had ever seen as the spit ball spiraled into

it and disappeared.

as usual, any comments are most welcomed

i rarely shoot in a relaxed mood but this was an exception as i was

roaming around DC with an old friend who is new to photography. we

both picked up some good shots. i felt this one came out pretty good

even though i might have framed differently with regrds to the bottom

right if i had been using a tripod like i usually do.

maran, the exposure was 20 sec @ F22 on fuji vevia, pentax 150mm FA IF and lee ND grad. the water blurs around the rocks a little.

i do not have a full ND so the shutter was made as long as possible by stopping down.

to really get smoothed out foggy looking surf, at least 30 sec is needed.

thanks you for your input

one last shot before leaving. i was packing it all up after sundown

when i turned around to get something and saw this awsome after glow.

i immediatly replanted my tripod and snaped the camera back in place

to make a few exposures. it turned out to be one of my fav. from the trip.

looking for comments on exposure and cropping. any other comments also

welcomed.

i tried to use the soap on the glass to make it obvious that my car

was being washed and heavily tilted the camera to induce a sense of

spontaneity. it was impossible to capture detail in both sky and

shadow so i went for the skin tones and let the sky burn out in the

background hoping to create some surrealism.

the first exposure was shot just bracing myself on the two seats and hand holding the shot. there was more blur than this but not much. just have to get comfortable braced in the car and it helps to use a heavy camera.

dan has a bar extending from the passanger side with a small ball head on it for a video camera. so for the second two and this one, i mounted it on that and griped the camera to dampen the vibrations.

the shot is a 2 second exposure. there is still blur on the interior but not enough to really detract from the shot. i actually wanted some motion blur to enhance the feeling of movement.

if you really want some of the interior tack sharp to anchor the photo, you can set off a low power flash to freeze some of the car that would otherwise be dark. do ask the driver of course!

this is a location that seems to get photographed 1000's of times a

night. to create my own exposure, i wanted lights and arcitechture

extending way into a deep black sky with people and cars tucked into

the foreground. i used an arsat 30mm fish eye on a 645 camera with

fuji RHP steadied with a gitzo 1228. the most difficult part was the

exposure which i had to put a lot of thought into before i could even

bracket. this shot is between one shot with polluted shadows and

another with too little forground highlights.

the light was right and the camera was with me so i decided to have a

go at this moving car interior at night kind of shot. i used a spot

meter to check the exposure of the dash and sky so everything would

come out alright. i used the stereo as a refrence for the light end

and opened 2 stops from that. after 2 shots, i was putting the camera

away when this truck came up and i had to scramble to get it all set

up again in time to catch it for the prize composition of the 3

exposures. it came out just like i wanted it to.

i was up before sunrise and setting up to shoot the sun coming up over

california from san simeon but the overcasst turned out too heavy. the

sun never poked throught the clouds. instead i took many frames of the

waves coming in and out over the rocks at various shutter speeds. when

i spotted this set of rocks, i knew exactly how i wanted to make them

look and set up accordingly. the result is very close to what i

invisioned. i used experience from another shot in my folder to create

the foggyness hanging around the rocks. i composed for a square crop

and for the 3 small rocks to be stepping stones from the corner

towards the middle of the frame.

when veiwing the original of this image under a lupe, i rank it among

my personal best. i hope to have my own scanner soon so i will be able

to post more of my landscape work which is done almost exclusively on

film.

when i set up for this shot, i originally planned a low angle shot to

include a patch of vegitation in the forground. the compisition needed

work, the light was fading, and i had not started messing with the

sync cords for filling in the forground when i realized there was just

not enough time. i quickly gave that up and extended my tripod to do a

simmpler approach and a get a series of shots before time ran out. i

choose this frame beacause it has a circular swirl in the surf which i

think really makes the image come alive.

this is the top pick from a short series of shots i did with my

compass. the picture was made for a lab report cover so overexposure

was used to create clean space for text. do you think this picture has

advertisinng potential as well?

i'm working with tight compositions and colored lighting in order to

achieve an advertisinng feel. i'm also working with limited equipment

and space. the above photo was made on my desk using an 8.5/11 sheet

of printer paper for a base. being in college as an enginneering major

also limits the time i can spend doing photography. this shot was

setup and exposed in about an hour of adjusting and testing. changeing

to a photo major is always on my mind so this serves as an exploration

into advertising photo. if it was done with more time and more space,

would it "sell"? if there was no dust on the product and the

reflections where under more control?