The key to getting the sun to appear so large next to the DTLA skyline is to shoot it from a long distance using a telephoto lens. This photo was taken from 19 miles out using a 600 mm lens. The sun will always be the same size in the frame for a given focal length, so I try to get as far from downtown as possible to maximize the dramatic effect of the big sun. This concept is known in photography as compression.
Beautiful fleeting moment
It was windy.
Sunrise
EXIF: Body: Canon 80D, Lens: Rokinon 10mm F/2.8, 30s shutter, ISO 1600, 5/29/2017 3:11 AM
EXIF: Body: Canon 80D, Lens: Sigma 18-35mm @ 32mm F/2.2, ISO 100, Syrp Super Dark Variable ND @ ~ 8 stops, 5/29/2017 8:30 PM
Shot on the Sigma 150-600 mm S, from Malheur National Forest, Oregon.
The purple color here comes from the ambient sunlight that shows up about 40 minutes before sunrise.
EXIF: Body: Canon 80D, Lens: Sigma 18-35mm @ 18mm F/1.8, 20s shutter, ISO 1600, 5/28/2017 4:14 AM
2 minutes before this photo was taken, visibility was 0. This is why, whenever possible, I stay at a location until the event has passed, even when weather appears to be uncooperative. (9/10 the weather doesn’t cooperate, but it makes all those other duds worth while when you get lucky).
Model: Jessica Marie Marie
Model: Jessica Marie Marie
This was a proof of concept for a technique I came up with that merges the concept of long exposure light painting with video. This is shot at 60 fps in a dark room by simply waving around an led cord. The raw footage is very boring until a tracer effect is added. I created the tracer by exporting the frames to images then creating a Photoshop action to layer frames on top of each other in lighten mode, and gradually fading away. I applied the action to the frames in reverse to create a pre-tracer to give it an even more fluid ethereal look.
Shot in stereo, but shown here in 2D here.
Available in Stereo 3D in the Stereo Gallery.