Tag Archives: tripod

Photographer Charlotte Hamilton Gibb

Photographer Charlotte Hamilton Gibb
Landscape photographer Charlotte Hamilton Gibb works the summer evening light along the Tuolumne River, Yosemite National Park

Photographer Charlotte Hamilton Gibb. Yosemite National Park, California. July 12, 2015. © Copyright 2015 G Dan Mitchell – all rights reserved.

Landscape photographer Charlotte Hamilton Gibb works the summer evening light along the Tuolumne River, Yosemite National Park

This photograph was one result of a wonderful set of coincidences in the Yosemite high country. I had gone up to the Tuolumne Meadows area for a few days of photographing mid-July. I arrived midday, managed to get a campsite, set everything up, hung out a bit… and it was time to figure out what to photograph in the late afternoon and evening. As sometimes happens, especially on the first day of such a trip, when I’m still working my way back into “the zone,” I didn’t have a plan. So I decided to simply get in my vehicle and head back to the west along Tioga Pass Road and look for some interesting potentials in the light and the scenery. At one point I caught a glimpse of some interesting light on trees and I quickly pulled over into a clearing at the side of the road. I noticed two other cars already there and a woman getting out of one of them, and I thought “I hope I’m not annoying her.” Then I realized that she was a friend and her husband was parked one car up. Claudia and Michael and I exchanged greetings and quickly decided to join forces and head out across the meadow.

As we crossed to the other side I saw another couple, one with a serious looking tripod, who seemed to be following us. we paused at the far side of the meadow and they caught up — it was Charlotte and her husband. Now the party was becoming larger! We headed slowly downstream, talking and watching for subjects, finally arriving at a spot where the river twisted through a few turns and granite slabs lined the banks. Each of us went to work on our particular views of the spot, and I made this photograph of Charlotte, focused so intently on her photograph that she was unaware that I was photographing her.


G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books and Amazon.
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About Tripods (Morning Musings 11/4/14)

Friends photographing in Utah's red rock landscape
Friends photographing in Utah’s red rock landscape

Morning Musings are back! Today I have a few general thoughts about tripods — not aimed at those who are already confirmed tripod users, but rather at those who find it hard to bother using them.

To start, let’s admit that one does not always need a tripod. For certain types of photography in which quick response is required and in which being too obviously a photographer can interfere with photographs, it is usually better to not use one. There are exceptions to every rule, but you are unlikely to want to use one for most street photography, for personal and family photography at home and on vacations, for certain kinds of portrait work, casual travel photography, and so on.

Let’s also agree that using a tripod is a burden, especially at first when one hasn’t accepted the extra trouble and when you haven’t yet developed instincts that make tripod use a lot more automatic before long. I’ll readily admit to being less than thrilled on about the 50th time that I must remove my tripod from the car, extend and lock the legs, level the thing, attach the camera, and only then make a photograph… after which I have to reverse the process: remove the camera, collapse the tripod legs, stow the thing once again. The slightly put-upon feeling diminishes as you get used to it, but it perhaps never goes away entirely. (The good news here is that the process of setting up and using the tripod does eventually become much quicker and much more automatic than it first seems.)

So, why use it then? There are more reasons than you might imagine.

Stability is an obvious advantage of the tripod. While you can, with care and practice, often hold a camera quite steadily and produce very sharp images when shooting handheld, you simply cannot eliminate all of the blur that comes when you hold the camera in your hands. And if you do happen to have very steady hands, you still will make mistakes that produce blur — working a bit too fast you may introduce a bit of camera vibration in some shots and you will reduce the number of successful results. A good tripod used correctly can virtually eliminate all camera motion and vibration in most cases. This is especially important when doing some kinds of photography that intrinsically require longer shutter speeds. This obviously includes night photography. Low light, low ISO, long lenses, and small apertures often require landscape photographers to use rather long shutter speeds. Continue reading About Tripods (Morning Musings 11/4/14)

Photographer, Fog

Photographer, Fog
Photographer, Fog

Photographer, Fog. San Joaquin Valley, California. February 14, 2014. © Copyright 2014 G Dan Mitchell – all rights reserved.

Photographer Michael Frye at work in early morning tule fog, San Joaquin Valley

A small group of us met up on this mid-February morning to photograph migratory birds, winter fog, and the San Joaquin Valley landscape. We came from different directions, beginning our travels well before dawn so that we could meet here before sunrise. We met shortly after 6:00, exchanged greetings in the pre-dawn dark, and then got ready to shoot. I lagged behind a bit while getting gear ready, and our friends Michael and Claudia started off down the gravel road before Patty and I did. Very soon were ready to follow, and in moments we found their car parked near a grassy area.

The fog was dense but also very shallow – nearly ideal for photography since it blanketed everything in a mysterious layer but still allowed the colors of the developing dawn sky to penetrate right down to ground level and make the fog layer glow with luminous color. Michael must have seen this coming, and he was already across a grassy area and at the edge of a pond when I arrived, and he was barely visible through the fog. My first thought was to “work” this solitary tree as my primary subject as the light came up, but first I thought I’d grab a photograph of him silhouetted against the foggy landscape. I made this photograph and then walked to the edge of the pond and made my own series of photographs of the tree, the water, and the foggy atmosphere as the light passed through a range of colors that the eventually revealed higher clouds lit by the dawn sunlight.

G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more.
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Text, photographs, and other media are © Copyright G Dan Mitchell (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.

Camera Stability and Long Lenses

I responded to a question somewhere else and thought that it might be useful to share the response here, too. A photographer asked some questions about using long focal length telephoto lenses for landscape photography and how to deal with the issue of camera/lens stability, bringing up related questions about things like live view modes, mirror lockup, image-stabilization, and so forth. Here is what I wrote in response…

Rocky Creek Bridge, Surf and Fog
Black and white photograph of Rocky Creek Bridge with winter storm surf and fog. Big Sur coastline, California.

If you are shooting landscapes from the tripod…

  • Do use live view – it is the mode that introduces the least amount of shutter vibration.
  • Either mode 1 or 2 will perform essentially equally well when it comes to shutter vibration. (In both cases, there really isn’t any shutter motion vibration before the exposure since it is initiated electronically.
  • If you use a remote release (and you do, right?!) then there is no reason to use any delay setting on the camera to avoid vibration. (Many cameras have settings for 2 second or 10 second delays – mostly there so you can run and get in the photo, too!)
  • Mirror lockup is irrelevant in live view. The mirror is up by default in live view.  To be even more explicit, live view and MLU are mutually exclusive modes – they cannot be used at the same time.
  • After touching the camera, moving the tripod, etc., wait a few seconds for vibrations to dissipate before making your exposure. I  think that 2-3 seconds is sufficient, though some folks will claim that even longer might help.
  • Speaking of this, I would tend to avoid using either auto-focus (AF) mode when making landscape photographs with such a long lens. Either can introduce some amount of vibration to the system, but especially the mode that momentarily flips the mirror down, auto-focuses in the usual manner, then flips the mirror up to make the shot in live view. I prefer to manually focus at 10x magnification. If you must autofocus, do so before switching to live view mode, and then turn AF off before making the exposure.
  • Realize that the large area of these big lenses, combined with their very long focal lengths and great magnification, make the system far more susceptible to vibration from air movement. Even relatively weak breezes can create enough vibration to create a bit of blur and soften the image. Continue reading Camera Stability and Long Lenses