![]() ![]() Pentax 6×7, 165mm f2.8.Īll shots were made using mirror lockup and a cable release. I am reasonably happy with the exposure here – the back of the treetrunk still shows plenty of detail, and although the highlit strands of silk are probably pure white, that reflects how the scene appeared. Open in new tab for full size.įinally, a backlit shot of a spiderweb. The 45mm allowed a bit of lens flare in this shot, but I think it shows how the sun was spilling through the trees. I like the 165mm for closeups and details, especially with the shallow DOF it offers. Or this small pine seedling in front of a huge redwood trunk. One of the things I have learned to do is to try and concentrate on a few details, such as these brightly-lit leaves of grass in front of some sawn logs. I think the overall composition still works, and I was fortunate enough to get an exposure that still captures detail on the main tree trunk. This first image shows how busy and complex the forest can be. Fortunately I have a metering prism which I used for most of these images, and which gave surprisingly good results. Setting up the camera for my first shot, I realised that I had left my spot meter back in the car. When branches and ferns are bing stirred by the wind, this can be a problem. The ISO rating of 400 is also useful for the subject matter – despite it being a bright day, the forest floor is surprisingly dark, and exposures on slower film can be quite long. I shot on Ilford HP5+, which handles the wide dynamic range very well. These are all good lenses, and any lack of sharpness is more likely my fault than theirs. But all this simply means that I have an excuse to go back to the forest and try again, and having to take another walk on beautiful woodland trails is hardly the worst thing that can happen to a photographer…įor my most recent trip I used a Pentax 6×7 with a 45mm f4, 75mm f45. It has taken me a while to learn all of these lessons, if indeed I fully have, and my files are full of unsatisfying negatives. By the time you have set up the camera, changed lenses, shifted the tripod, and checked the exposure, the sun will have moved, and the moment is lost. The lone ray of sun that perfectly strikes a single plant can move surprisingly quickly. Photographing in the forest really teaches you to look at the whole image in the viewfinder, and not just the central subject.įinally, there are times when you need to move quickly. ![]() It is all too easy to find a view or scene that interests you, take a photograph of the central subject, and then find that the final image is full of distracting background details that you failed to notice in your enthusiasm. ![]() The other problem is that the forest can be a visually busy place, full of a complex array of leaves, branches, and intersecting shapes. These days I stick with B&W negative film, which does a much better job of handling the lighting conditions. The first time I visited Big Basin forest I was using Fuji Velvia transparency film, which struggled with the extreme contrast. Rays of sunlight strike through the forest canopy, creating pools of bright light and leaving deep shadows. The redwoods can make for a difficult subject. I have been fortunate enough to go on many walks along its network of trails, taking a camera with me. A creek runs through it easily fordable in a dry summer, and waist high in a wet winter. Distraught father and feisty instant-girlfriend go on a bank robbing spree, labeled in media-moments "a modern day Bonnie and Clyde." The inevitable showdown between O2 and Meat is grim, and sets up a much grander clash between O2 and what looks like half the LAPD.Portola Redwoods State Park lies on the west side of the Santa Cruz mountains, where the land slopes down towards the Pacific, and the cool sea breezes create the ideal climate for California Redwoods. Due to their history as former associates, Big Meat - who runs a major drug operation, in addition to dealing stolen goods - wants $100,000 for Junior's return. O2's shifty smalltime crook cousin Lucky (Larenz Tate) finds out the boy is being held by Big Meat (rapper The Game). O2 sets out to recover Junior with the help of Coco ( Meagan Good). When his car is stolen with Junior in it, O2 shoots up half the street, killing several bad guys, but he loses his son. That said, his messages are somewhat mixed: When he learns Junior beat up a boy who picked on him at school, Dad is visibly proud even as he instructs his son not to fight. Newly released from prison, O2 ( Tyrese Gibson) is a security guard and dedicated single father to Junior (H. ![]()
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