And you don't even see the clouds rush in real life. By then it's dark, all I see outside is ink black sky. The shutter stays open beyond the next signal to snap so it misses every other signal while it holds open and as it darkens outside.
This is the wide angle lens tight as it can go. Dialed out to its max is even more severe architectural perspective, pulls in more of the building and pushes the mountains further away. This really does show how the lens sees more than you can in real life. It's like if you were to stretch out your arms straight out side to side so they disappear from your view, grab the scene and draw your arms closer together, pull in the buildings toward the center and seemingly compress the sky.
It poses a real question, to crop out the building, do you simply crop them or do you correct the fish-eye type perspective by tugging back the buildings and stretching the clouds? Are the clouds shown real or compressed? This lens at this setting is the most sky coverage, the most cloud-age that I can get from this spot with any of the lenses, so the buildings are allowed.
The clouds flash their colors before going dark.
The file is large so tucked in the back.
7 comments:
Every sunset is like a snowflake.
At the end the shutter is opened longer so the clouds are streaked making them appear blurred by motion. And it's every 80 seconds and not every 40 so they really are running faster because half the frames are missing. The effect is neato-torpedo.
Nice. Really pretty!
Beautiful.
@deborah: What is that new avi? When I click on it to enlarge it it goes away.
Accidentally used another account, have no idea how it switched.
Carol Casselden's Orchard Path at Sunrise third place in the Beautiful Gardens category of International Gardens of the Year 2013
For a winter scene that captures the eye by laying out a different path, David Cobb's Cherry Hill came second in the Trees, Woods and Forests category
The every sunset like a snowflake thing applies to cherry trees as well.
Post a Comment