An old favorite photographic subject for me.
I was hoping the water might be somewhere near the high mark that Emma described in War for the Oaks (and which actually happened once back in the 1980s), but no such luck.
Still have some good photos, I think, though. Also some interesting experiments with the fisheye; of which I wanted to post this one right away. There’s no gallery to click through to yet.
Photos from a party I was at last night. Thanks to my hosts and all the guests! I appear to have had a great time.
As a source of neutral midtones to set color balance from, I mean.
Black leather jackets. Asphalt pavement. Black t-shirts. All of these, if they have highlights going on, can easily get tones up into the midrange (which I think of as 90-180, roughly) suitable for use with the gray eyedropper for setting color balance.
If it’s dark mixed with specular highlights, though, it’s usually not useful; specular highlights are by definition not a useful source of color balance, since the ability of the sensor to capture the light falling on it has been exceeded. The ratio of colors in a specular highlight pixel doesn’t tell you anything about the actual color of the light falling on it there.
“Don’t waste your time arguing about allocating blame. There’ll be enough to go around.”
I believe there never was a third law. The first and second seem to be lost (I vaguely remember that at least one of them was a simple theft of one of the classics). If anybody remembers, or especially has or can find archived posts where I cite the earlier laws, I’d be fascinated to hear.
“All photos are best taken from a camera position that hurts your knees.”
I’ve just been reviewing (and responding to comments on) an LJ post where I brought this up, and I found myself thinking this several times last night while photographing at a party, and it occurred to me that I might as well get it down solidly on my record.
It’s amazing how often my best shot seems to be just a foot below eye-level. Or else just about 3 feet off the floor.