On Location: Pre-Visualzation Marshall's Beach
Hey, Matt, so here we are, a brand new location. We're at Marshall Beach. It's gotten a lot colder, we were hopin to get some sunset right now, but that's okay. And let's talk a little bit about pre-visualizing this new scene that we're in.
Yeah, so, I think we're in a whole new spot, so it's worth kinda talkin about what kinds of new things we can photograph. So, I'd actually, I've been to a beach that's just a few hundred yards down, so I've kinda been to this area before, actually got a sunset where I actually saw the sun and everything. So, a couple things that hit me as soon as we walked on the beach is, right when we walked on, there were some rocks, and the tide was comin up, and it was comin up far enough that where the sand was flattening out, so it kinda gives you some little tide pools there. So, probably gonna shoot that, all right. That's gonna be a great foreground, kinda leads you right along the beach you wanna get the bridge into the shot of course. But those little ...
tide pools you can get nice little reflections in there. Couple other things I'm thinkin composition-wise is I'm probably not gonna want a super wide lens, like 16 to 35, the problem is if I throw that lens on, I'm gonna take, what I'm thinkin is the star of the photo, which is the Golden Gate Bridge, and I'm gonna minimize it cause it's gonna get so small. So I'm gonna be kinda 24 to 70, 70 to 200 even, you know depending on where we'll be on the beach. I'm always gonna try and get these rocks in the foreground. You'll notice there's water coming up in front of the rocks. If we put our camera in front of that and we do just like a half of a second exposure, we'll get a lot of movement too. So I'm gonna try to include that as the foreground and have that lead us up into the bridge. And then at the end I think I'm gonna basically move my way up the beach, and then end up as close as I can to the bridge and get a real nice shot with the bridge just kinda, you know, almost occupying the entire frame. I think, you know, I first walked on here and I'm like, sucks, cause the weather's not great, but, it's a cool shot, like, I think it's gonna happen to a lotta people. You're gonna get to a location, and wherever you're travelin to and the weather's gonna kinda go bad on ya, I almost wanna say I would take the moody, half covered by fog bridge, than I would on a regular sunny night. I think we can make a lotta neat photos with it.
I think it makes it more interesting, than just a bluebird day.
You have to do something little creative extra to set yourself apart.
I think it will come out great though.
So, I want to show you guys somethin here. We'll dive into this more tomorrow, but I'm kinda teasing tomorrow, cause I was, I was happy with this. I'd never done this before. So you see this photo here. I'd used, you could even see it in the video, part of the bridge was foggy, part of it wasn't, but it wasn't enough that like, it's like, give me all fog where I can just barely see the bridge or, like I hate that in between. So, there's some things I could do to sharpen up the bridge and bring that photo out. When I have a photo like that. But check out what I did with this one. I used the graduated filter, and I took Lightroom's dehaze slider, and if you do the opposite, if you do negative dehazing, it makes it look foggy. So check this out. That's before. That's after. So I thought that was cool, like I've decided I'm goin all fog on this photo. Like I want it to look foggy, and I'm not gonna have any in between there, so let's do it. It's got a real moody nature to it, but that's just the, that's just using the graduated filter, right up top there, and then it's kinda draggin down and doin negative dehazing. So there's that. Here's another shot done kinda right before we left, so that was probably my favorite one, the whole night, you know. Got a little bit a, you can see half of the bridge is kinda covered in the back there, I thought that was cool, and then the reflection on the beach, so I though that was a neat one as well. And then a longer exposure. Let's see here, let's tell ya exactly what it was. So that was at F18, so 100, 3.2 seconds. So, and that was with, I think I had a three stop neutral density filter in front. I think it was a pretty fast shutter speed without it. So I put a three stop neutral density filter in front, and let me get up to three seconds on it, which you can see the streaks in the sand, and that's kinda what gives you a little bit more of that reflective type of nature to the photo. All right, here's another one. Streaky water. So, anybody know why this, the composition of this beach works? Like, it's almost, it'd almost be hard not to take a good photo there. Anybody, any thoughts on why? Anybody wanna be brave enough? You got the mike.
I think the water leads your eye right up to the subject, which is the bridge.
Exactly, exactly. And then, the woman next to you said the other thing, which is along the same line, what'd you say?
The angles too. So, same lines here, but we got triangle, there. You know, lots of triangle shapes there. But at the same times having this triangle, we also have our focal point right up here in a key part of the photo in one of the thirds, and then we just get this line that leads you straight up to it. So, it's one of those places like the reason why you see this as such a popular spot here, is it's made for photographers, like it's just naturally makes a nice photo.