Yeah, yeah, I know – another one of those posts? Well, why not! Besides, I happened to be in the same spots (deliberately) in Yellowstone so I could capture similar shots. Granted, the cameras are different and the focal distance is different, too. With the winter shot, I used a focal length analogous to 48mm, and with the summer shot, I used a focal length of 70mm, so there’s a slight difference in the amount of landscape you are seeing. I tried cropping the winter shot so that it was a little bit closer to the view of the summer shot.
This may be a similar shot, but with the weather conditions / season you can see how visiting the same spot can yield different results to make it look almost like a completely different landscape.
This location is going downhill on what is known as the Grand Loop Road in Yellowstone National Park. It’s between Hellroaring Trailhead and Tower-Roosevelt Junction. Since it’s Fun Fact Friday when I post this, here’s a bit of trivia for you:
During the summer and warmer days, in general, there are more water molecules in the air. During the winter (cold temps aside), there are far fewer water molecules, which is why it generally feels much drier, your hands and lips get chapped easier, and your photos are much clearer. Aside from the differences in camera resolution, this is why the winter shot here seems to be “crisper” than the summer shot, which appears softer due (at least in part) to the sort of “smoggy” morning with all those steam and summer water molecules in the air.
Copyright Rebecca L. Latson, all rights reserved.
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Ok, it’s Saturday, so here’s a 2-fer to go with the previous post.
From one of the National Park Service’s pages:
“Imagine you are here in the late 1800s, a time when yellow filamentous bacteria was prominent. What colors are present today?
This spring occasionally goes dormant for brief periods of time. Vibrant pinks and neons are sometimes seen.
A network of fractures and fissures form the plumbing system that allows hot water from underground to reach the surface at Mammoth Hot Springs. Small earthquakes may keep the plumbing open. The water comes from rain and snow falling on surrounding mountains and seeping deep into the earth where it is heated.
The volcanic heat source for Mammoth Hot Springs [in Yellowstone National Park] remains somewhat of a mystery. Scientists have proposed two sources: the large magma chamber underlying the Yellowstone Caldera or a smaller heat source closer to Mammoth.
For hundreds of years, Shoshone and Bannock people collected minerals from the Mammoth Hot Springs terraces for white paint.
Travertine terraces are formed from limestone (calcium carbonate). Water rises through the limestone, carrying high amounts of dissolved calcium carbonate. At the surface, carbon dioxide is released and calcium carbonate is deposited, forming travertine, the chalky white rock of the terraces. Due to the rapid rate of deposition, these features constantly and quickly change.”
The images you see here reflect Canary Spring seen during a winter 2022 sunrise and a summer 2018 sunrise. Aside from the colors and lighting, what other – if any – differences do you see? I saw some much brighter colors during the summer on the terraces of Canary Spring. Aside from anything else, I’ve noticed that colors during the winter seem to be much more muted and darker, as well. I saw this not only here at Canary Spring, but also at Morning Glory Pool and Doublet Pool at Upper Geyser Basin.
FYI, the winter image was captured with my Fujifilm GFX 100s and 23mm prime lens, and the summer image was captured with a Canon 5dsr and 24-70mm zoom lens.
I know many of you will be traveling, if you are not already doing so, solo or with others, to celebrate whatever holiday you observe that comes around this time of year. So, I thought I’d get this posted, in case any of you decide to try out your own Christmas/holiday-themed photography.
Every year, it’s a tradition for me to photograph the decorated tree and to capture the warm and cool beauty of the season where I live. If it snows outside, which it has lightly done on and off for a couple of days, then I like to capture an image of the scene, including the snowy ground and looking toward and then through the window of the house, where we set up the tree and holiday lights.
I capture images of the livingroom decorations, tree, and all the presents as seen during the day and at night. During the day, the light tends to be cooler and the tree lights a little frostier and maybe even not as well seen. There’s a light, airy feeling to the daylight shot. Night, though, is a completely different story. The colors are richly saturated on their own, but with the addition of the warm gold from the tungsten lamps and the sparkly lights of the tree. Everything looks so inviting.
I make it a point to go outside at night to capture the look of the tree and decorations through the large picture window. This scene above is a sort of yin/yang composition that I often create without even knowing it. There’s the cold blue-white light of the outside light, next to the warm, golden light of the house interior.
And of course, I capture the ornaments and decorations, their colors and their sparkle.
This year, I used my Fujifilm GFX 100 and GFX 100s cameras. The GFX100 has a 45-100mm lens attached, and the 100s has a prime 23mm lens attached. The 45-100mm is analogous to a 35mm 36-79mm lens and the 23mm lens is analogous to a 35mm wide-angle 17mm lens. The photo above, however, of the light-up little snowglobes, was captured with a Sony Alpha a7riv and 24-105mm lens.
I hope all of you have a safe, peaceful, and photographically fun holiday time. Never stop taking those pictures, because that’s how you improve and learn.
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I don’t know how many of you out there are still on a waiting list for a Fujifilm GFX 100S. I had to wait 5 months for mine and I only lucked out because I started looking at camera store websites other than the Big Two (BH Photo and Adorama). I can honestly say that, if you are a landscape photographer, the wait is worth it. The resolution is phenomenal and Fujifilm has not only actually brought a medium format camera down to the price of a high-end SLR like Sony, Canon, or Nikon, but at about the same size, too!
So, not too long ago, I spent a couple of days with my cameras up at Mount Rainier National Park. My main reason – aside from getting out and about – was to give my Fujifilm GFX 100S more of a workout. It wasn’t a complete workout because I didn’t try to get any night shots (the moon was out, making the sky too bright for decent star pics – that plus I was too tired from a full day of hiking), but it was enough for me to give a few more thoughts on this camera as well as the Fujifilm GFX 100.
1. The level of detail is simply amazing. I find, though, that I must add more saturation to the image when working with it on the computer. Sure, I could switch the film simulation from Provia/Standard to Velvia/Vivid, but that’s just a bit too vivid for me. That, plus it appears – on the LCD anyway – that some of the finer detail seen in the Provia/Standard setting is removed, or covered over, with that large boost of saturated color in the Velvia setting. I tend to apply saturation judiciously and thus prefer using Photoshop, where I feel I have a little more control.
2. Learning the menu setup is like learning another language. I’m language-challenged, but I do know my rudimentary way around the Fujifilm, Sony Alpha, and Canon menu setups. The menu setup for this brand of camera is extensive, but easier to intuit than Sony’s menu settings. That said, it behooves one to do a marginal skim of the owner’s manual before heading out into the field. I didn’t do that and ended up spending 30+ minutes trying to work with a setting while out in the park, wasting some good lighting conditions. And, I know better than to do that! Jeesh.
3. Battery life sucks for air – especially with the GFX 100S. My intention was to use the GFX 100S for an entire day of shooting, but both the battery that came with the camera as well as the spare battery I’d purchased pooped out on me before midday. I’ve since ordered an extra couple of batteries on top of the two I have, and I went ahead and ordered a couple more batteries for the GFX 100, although it’s battery life seems to be a bit longer. I just don’t want to be caught out in the field empty handed when that once-in-a-lifetime composition comes along. Know what I mean?
4. Two-second timer. When the camera is on the tripod, I always use the 2-second timer. It eliminates that last bit of vibration from my finger touching the shutter button. With both the GFX100 and the GFX100S, there’s three parts to the timer. In the Shooting setting (the little camera icon in the menu), you can set the self-timer to 10 seconds, 2 seconds, or Off. Then, you need to tell the camera to remember that self- timer setting in order for that timer to remain in effect for the next image, or if you turn the camera off and then back on at a later time. Otherwise, the timer will only work for one shot. Then, you’ll have to go back in and tell the camera to use the timer again. You’ll also need to decide whether or not you want the self-timer lamp on. That’s the little light that turns on while the s elf-timer is in use. For night shots (which I haven’t tried yet), I’ll turn that lamp off.
That’s all I’ve got, for now. I’ll be taking the two cameras with me on a forthcoming 2-week trip to a couple of national parks I’ve never visited (fingers crossed I don’t have any further health issues – or car issues, for that matter). I’m not certain if I’ll be able to get any star shots due to the smoky skies from area wildfires, but if the sky is clear, then I’ll see how well these cameras do regarding night scenes.
Copyright Rebecca L. Latson, all rights reserved.
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