A rocky peninsula drops into the ocean on a foggy morning at Point Lobos State Reserve.
On this morning it was foggy and drizzling at Point Lobos and there was a surprising amount of surf for a summer morning. When I arrived shortly after the park opened, there were few other people about. With the moving water and the low light conditions, I decided that this was a good time to do some work with long daytime exposures, so I got out my 9-stop neutral density filters and went about looking for compositions.
After shooting down closer to the water in the cove to the left of these rocks, I wandered up a trail along the shoreline that took me to a point that was a bit higher above the water. As I looked back I saw that the rocks that defined the cove that I had been shooting appeared to head straight out into the water towards a distant peninsula and then submerge – a rather different take on this feature.
By using this filter I was able to get an eight-second exposure in this light. Longer would have been better, but the light was beginning to come through the fog a bit and I didn’t have much choice. With an exposure this “short” I had to be a bit careful about timing the shots, trying to get the right amount of water breaking over the rocks.
Offshore fog lies beyond Point Bonita and Rodeo Beach and the Marin Headlands of the Golden Gate National Recreation Area.
I was surprised to find a clear view like this during my mid-July visit to the Marin Headlands of the Golden Gate National Recreation Area (GGNRA) across the Bay from San Francisco. I had almost decided to stay home or go elsewhere based on weather reports that had the coast completely socked in my dense fog for most of the day. Indeed, it was foggy as I passed through San Francisco and drove across the Golden Gate Bridge. The fog was high, and I could see some distance beneath it, but it was still a rather gray day.
Since the lower section of Conzelman Road, the normal quick and scenic route up into the headlands, was closed for construction, I took that alternate route that passes through a tunnel to come out near Rodeo Beach. I turned left up the hill to reach the upper section of the road. After photographing near Battery 129 for a while, the sun began to break through the fog, and I was surprised to find a fairly clear patch just outside the Golden Gate.
The photograph shows the last section of the headlands as the hills drop towards the historic fort and batteries near the Point Bonito light house, which is barely visible at the end of the peninsula on the left. The line of surf at the upper right is Rodeo Beach, a popular spot with Bay Area folks.
Two sea gulls glide along the top of coastal bluffs above the Pacific Ocean north of Santa Cruz, California.
Since I’ve related the basic story previously – more than once – I’ll keep it short this time. Since I live within an hour or less of the California coast, I head over that way frequently to photograph. Among my favorite subjects are the pelicans that travel up and down (but mostly, for some inexplicable reason up) the coast, riding the updrafts along the tops of coastal bluffs. I had some free time on this day, so I headed over with photographing the birds as one of my possible goals.
When I got to this familiar spot, there were no pelicans. (Eventually a few did fly past, but this was not a good day for pelicans.) Before moving on to other subjects I thought I’d at least stay here a while and practice the skills involved in photographing these birds in flight since even though there were no pelicans, there were plenty of other obliging birds. Most of the time it is difficult to get two gulls in the frame once they get close and start to fly past, but these two hung close enough together to be in the same frame, and their low trajectory placed them right in front of the deep blue water, with the fog-softened horizon near the top of the frame.
A solitary gull flies above California’s Pacific Ocean coastline with a fog bank and blue sky beyond.
With some free time earlier this week, and the excuse of driving my son to a summer-session class at UC-Santa Cruz, I headed north from Santa Cruz looking for things to photograph. Because there was a lot of fog, even in the middle of the day, fog was one of my general subject ideas. And I almost always make at least a quick stop at a couple of bluff-top locations that I know of where shore birds often glide by very close as they ride the updrafts from the ocean winds. It turned out that my first stop was precisely one of these locations. With nothing else specific in mind at this midday hour, I figured I would at least spend a bit of time honing my skills and tracking and photographing birds in flight.
Although sea gulls are not necessarily my favorite subjects, there sure were plenty of them to practice on! At the spot I picked, they first become visible perhaps 10-15 seconds away as they come around the edge of a bluff to the south. As they approach they tend to vary their altitudes, with some dropping low enough that they disappear behind the cliff and others going so high that only their shaded undersides are visible. But a few come very close at almost eye level.
I almost always learn something new when I photograph birds in flight and this session was no exception. While in retrospect it seems like one of those “Well, duh!” realizations, I figured out that really strong winds tend to upset the birds ability to remain level, and for this reason they are constantly adjusting to remain level. From moment to moment the wings move into interesting positions or they find themselves tilting wildly to get back on course. This is much more interesting than what they do in benign conditions, where they often seem to just… coast.
So, add one more thing to watch for as they fly past. This isn’t an easy thing, and I have the greatest admiration for those who are really great at photographing birds in flight – or “BIF,” as some call them. The first challenge is simply to keep the moving birds in the viewfinder when using a long focal length lens. (I advise practicing the process of simply following the birds without even firing the shutter at first.) But that’s not enough. You must also attempt to keep the bird(s) in a position within the frame that is aesthetically interesting and which will position the target under the active AF points on the camera. Easier said than done! Then there is the matter of trying also be aware of what the bird is doing – watching wing and head position and so forth. On top of that, you ideally also want to be aware of the what else is in the frame – sky, clouds, water, other birds – and factor that into the decision about when to press the shutter. There are exposure challenges, too, especially with birds like this gull that have white on their backs… and this portion of the bird is in direct sun.
Let’s just say that – for me at least – it takes a lot of exposures to get a few shots that I like.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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