Graphic Use of Morning Light.
This photo of Union Pacific’s former Southern Pacific Ozol Yard at Martinez was exposed from the same hillside on the same morning as the image of Amtrak in yesterday’s post (See: Amtrak Capitols Crossing Carquinez Straits, August 12, 2009)
In this case, I’ve walked (or scrambled) further down the hillside from my parking place on Carquinez Scenic Drive. The road is gated overnight and opened to the public in the early morning hours. Finding the right street in Martinez to reach Carquinez Scenic Drive can be a trial to the uninitiated, a good map or sat-nav device is recommended. I used a Northern California DeLorme Atlas and Map Quest, (plus vague memories of having photographed from this road in the early 1990s).
Working with hard silhouettes requires careful exposure. Also, I’ve found it helps to avoid excessive lens flare. This is one of those things you rarely read about. If the sun (or other bright light) hits the front element of your lens it will cause flare which will change the contrast of the image and may cause patterns (light streaks or blobs).
While in some instances it may be desirable to include flare (Hollywood discovered the dramatic use of flare in the 1960s and 1970s), often it is best to minimize it.
What to do? Shade the sun from hitting the front of your lens. Traditionally a lens hood will solve this problem . However, when the sun is very low to the horizon, a simple lens hood isn’t sufficient. To compensate, I’ll try to find something to stand behind (such as a hedge, awning, convenient sign post). If this fails, I’ll use my notebook (which I carry with me everywhere) to shade the lens. For this reason, I often carry a 5×7 in size notebook with a dull charcoal gray cover (to minimize reflection).
I’ll position the notebook in such a way so its shadow covers the front element, but the notebook itself isn’t in the image. This is a handy trick to use for night photography too. It helps to have the camera on a tripod (or have a capable assistant to hold the notebook!)
In this instance, my intent was to emphasize the glint off the rails and signal bridge in a hard silhouette. Notice where I’ve positioned the locomotives in relation to the glinting sun. I’ve deliberately exposed for the highlights, allowing the shadows to consume most detail.