Photo Settings:
Canon 7D
Canon 17-55mm lens
f/16 @ 30 sec
ISO 100
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Photo Settings:
Canon 7D
Canon 17-55mm lens
F/8 @ 1/250
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Photo settings:
Canon 7D
Canon 17-55mm lens
f/8 @ 1/250
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What I like about this shot is the luminous quality of the adobe walls, the wispy clouds, and the shadow of a tree on the right wall. The camera settings are as as follows:
Camera | Canon XSI |
Lens | Canon 17-55mm |
ISO | 200 |
Focal Length | 17mm |
Aperture | f/8 |
Shutter Speed | 1/200 |
Altitude | 7,199 ft |
Camera | Canon 5D |
Lens | Canon 16-35mm |
ISO | 100 |
Focal Length | 35mm |
Aperture | f/16 |
Shutter Speed | 0.5 sec |
For this photo, I was lucky to have my hotel right near the entrance to Vatican City. After touring the Vatican and admiring the School of Athens by Raphael and the divine Sistine ceiling of Michelangelo, I wandered around the Vatican enclosure and snapped this shot with a Nikon film camera and a 24-120 lens. The view is stunning, but I remember that I was looking for something unique to include in the foreground, something to make the shot standout from other generic photos of this sacred space. At that moment, two nuns dressed in white passed by, and I hurriedly snapped the shot before they exited the frame. I would like to think the coincidence was divinely inspired.
I spent a good thirty minutes or so constantly uncovering, blowing on, and then covering up my freezing fingers while I adjusted my camera settings. It seemed like an eternity, waiting for the sun to set, bouncing around to keep warm and noticing the steamy breath of my fellow shutterbugs on the shore. Finally, the rays of the sun started to descend across the valley, lighting up the seven sisters, Half Dome, and El Capitan. I remember I let out a whoop as the sunset show began. I thoroughly enjoyed this spectacular scene as the sun's rays slowly crept across this magnificent valley, bathing these iconic granite monoliths in a deep orange glow.
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Fast-forward thirteen years to a cloudless, balmy, night in the City of Light. I took the Metro to Trocadero, strolled around the grounds, and then spotted a viewing deck in the distance. Amidst the throngs of tourists and amorous Parisians, I had the good fortune to find an open space on the ledge of the deck directly across from the tower. I used a gorilla pod to steady my Nikon SLR and 24-120 lens, closed down my aperture, and used a slow shutter speed. The result was this frame with the magnificent, golden tower in the distance and the milky fountains bathed in blue in the foreground. It took thirteen years, but it was so worth it.
A key feature of this region are the iridescent, turquoise-colored glacial lakes, commonly referred to as the Southern Lakes, which include Lake Pukaki, Lake Tekapo, Lake Wanaka and and Lake Wakatipu, among others. Peter Jackson used this area three times as the backdrop for scenes from his Lord of the Rings and Hobbit trilogies, with Lake Pukaki being used as the surrounding area for Lake Town in “The Hobbit, the Desolation of Smaug”.
The surreal light-blue color of these lakes results from the glacial silt runoff that carries finely ground rock particles called glacial flour. The bus driver was kind enough to stop at a few of these glimmering blue jewels, but this shot was actually captured from the window with my Canon Rebel XT and a 17mm-55mm lens, as we meandered through this magical picture postcard landscape.
On this day, after enjoying lunch at the snow-capped summit of Mount Tongariro, I was trudging over a gusting wind-whipped ridge, when this awe-inspiring view came into sight. I was struck by the variation of colors in the landscape and the by the surreal quality of the these aquamarine jewels in the stark, Martian landscape. After fighting with the wind to get my tripod setup and stable, and trying to avoid slipping on the loose scree underfoot, I got this shot which nicely captures the colorful otherworldly terrain of this special place, which was also used extensively to represent Mordor in Peter Jackson's Lord of the Rings trilogy.