The water itself is on the earth in many forms of interest: geysers, springs, streams fast, waterfalls, glaciers and much more. Each of these, depending on the surrounding environment, the way of reflection of light, or the physics of the process requires exclusive access by the photographer and appropriate technology so that the end result will be satisfying, attractive setting. The subject is so far I have divided into three articles: geysers and hot springs, waterfallsand rivers and glaciers.
Hydrodynamic Impressions - geysers and hot springs.
One of the most famous natural attractions in Iceland are geysers. In fact, there are few active geysers in Iceland, but you know that the active geysers very rare phenomenon, and that exists only in a few places on earth. The most famous is the Great Geysir Geysir, the word "geyser" comes from, and are available in several languages. The Great Geysir is no longer active - the last eruption wasobserved in 60 ties of the twentieth century. Today, the most famous geyser is called Strokkur active geothermal field in southern Iceland, breaking several meters high with a spectacular fountain every few minutes, and is the target of numerous trips. I will try some suggestions and ideas photos that may be useful if you decide to make your trip with a camera to geyser a few days.
Equipment and technical aspects.
Allow me to begin the technical aspects ofThe filming of this unusual phenomenon of water. In Iceland, I have Canon EOS 40D with Canon 50mm/1.4 USM, Sigma 10-22mm wide-angle zoom lens, and sometimes fathers. I would have the UV filter took my lenses and extra power in the event that the dedicated exhausted. I have two CompactFlash card SanDisk Extreme III 4GB and 8GB for my photos. My father has led Samsung S760 point and shot and a full-frame Canon EOS 50E analog body with CanonEF28-105mm f/3.5-4.5 USM. The agreement with the first big problem I had was about the dynamics of foaming water. Capture clear images of eruption, sometimes the water is not a piece of cake. The explosion came and went at once and at first, no matter how I tried to capture was a single or a series of photos, the image is too soft, and full details of a crop was almost lost - the autofocus camera was not able to respond with sufficient intelligence to focus on the field I wanted. So I the auto focus and a point of proper focus manually activated. The first overwhelming advantage on shots point'n brought here by my father appeared, although it has contributed in some way blocked by Focus on an object similar to the area of explosion geyser.
The second problem has been faced with the ISO, aperture and shutter speed values. The pace of two explosion geyser of water near the hot springs and boiling water, especially in the low light of sunset, as I wasCameras> reach their limits. To view the image details with regard to sufficient, while the images I had to do to get the value of 400 ISO setting to reduce the shutter speed to less than 1 / 1000 s and an aperture open as much as possible.
During the spa offers the flow of water in a very stable, as the geyser is unpredictable. E 'was difficult at the time of explosion, particularly the typical light bulb and water vapor, which in the very early stages of fish shoals.
Theextreme lighting conditions due to heavy clouds and the sun's low position requires extreme parameters: ISO 250, Aperture: F1.4, 1/2000s shutter speed, focal length of 50 mm. Frankly, I had to rework some light on the original "after.raw 'image to achieve this - the miracle did not happen. Tripod is a must.
You never know when the water would explode if he felt that was in progress. The stand was very useful in this case - without that I had to wait severalMinute is not so easily grabbed my camera, pointed out the cave and geysers, as you can imagine, this was not a comfortable position for the body. The tripod allow you to do a series of photos - the stabilization of the key is here. Besides the tripod, I avoid a remote switch for any camera shake while photographing. I used a soft fabric with me and when the water in the geyser lens, I sprayed it, and the meeting couldcontinued.
The lighting and composition.
Good camera equipment is obviously not doing everything in the picture - even the best equipment used incorrectly and without proper design this leads to interesting photographs. The specificity of shooting geysers again is inextricably linked to their movements and their dynamics in relation - to make the composition, you must imagine how the water column would be seen in the foreground, and how it would comply with a background. You must also try to predict how theWells have been enlightened and set the opening hole obtained in advance, because the explosion is very short, and you will not have time to think about the composition, the water appears after a few seconds. Everything must be planned in advance and when. Just to previous attempts are a must before reaching a satisfactory outcome. As mentioned above, the most important thing was to think about the background of the geyser. I came to geyser area in bad weather. I made some early recordingsbut the result was far from what I predicted earlier - the column of white water geyser in front of a white background and gray are hardly distinguishable. I could not solve this problem, until the blue sky, when the water column was separated into foreground enough. Even then I had to avoid rare white clouds, to preserve the separation.
Another problem, fortunately, is easily solved by a vapor above the water. You have until the wind blows away than wait for the water column.Beware of the wind is on the line and approaching too close to Geysir - the hot water can burn. Wear long pants and sleeves, hooded raincoat is advisable if you want to get a little 'more closely than others;)
After hours in the vicinity of Strokkur I noticed that some interesting results have been placing cameras in line with the water column and the sun. The photo below was taken with the camera pointed at the sun and Let It ShineGeyser blast from behind.
Postprocessing.
I must confess that my photos are reluctant Geysir lighting is not sufficient, in general, especially with the inclusion of the sun in the frame. The first thing I do when I started to post-process to add light. So, just, must be selective in the sense that not all requests can illuminate the image. In Photoshop I used the lasso tool selection ", which was the area that is lighter than other parts of the markimage. To avoid sharp boundaries between dark and light space of the image that I Feather parameter with a value of 5 After the alert in the area that I have with Image-> Settings-> Brightness / Contrast from the Image menu and set the intensity of light for the appropriate value for monitoring the border area of difficulty. The effect is not very bright area separate from other parts of the image darker. This is standard procedure when working on these images. As usual CamerasNot all the area of the image with strong contrasts of light, like the capture below.
The initial.jpg only after the passage from.raw file - without elaboration. The first drawback is the most significant safety rope to hang over the picture. In addition, it seems overexposed the image and the colors are interesting. This is due to the presence of the sun, the big brands contrasts. Today, cameras are still not adequately capture these differences in a single blow. In fact, most shots with a sun inFrame looks as if too bright, if you are close to the sun or too dark to focus when you concentrate on other objects. The good solution is to use pseudo-HDR or HDR techniques, or simply avoid shooting against the sun.
After each stroke of lighting areas of the image, making the contrast by adjusting the image-> Settings-> Levels and a little 'to increase the color saturation is a result closer to reality, however, differs significantly from the Virgin. The only remaining problemthe meeting was the geyser implement safety rope around the Cave of Geysir. He stopped and looked fearfully damaging the local images. I had to wait two solutions to this problem - and no one will be present in the area, and remove the rope for a moment, hoping that nobody would be punished. Another possibility was to remove the rope and the use of touch-up frame. I chose the second option should be aware that this is not ideal - I would be able to avoid such interference into the picture. Once again, Iusing the rectangular selection tool, select the area near the rope. Then I multiplied selection by copying and moving toward the city, was seen in the rope. Then I smudge tool with options for level of dark and light limits unnatural selection.
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