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Incoming Tide_Loch Ard Gorge_Great Ocean Road

Incoming Tide_Loch Ard Gorge_Great Ocean Road

Hasselblad X-PAN II camera and Hasselblad X-PAN 30mm f5.6 lens with Fuji Velvia 100F film

Can you see the crashing wave in this image?

Shot on a wind blown, overcast day this image of Loch Ard Gorge is a favourite location for tourists along the Great Ocean Road. Famous for a range of shipwrecks, including the Loch Ard in 1878, the rugged cliff faces and enclosed nature of the landscape were well suited to the panoramic format. The wide-angle lens exaggerated the foreground elements and, as a consequence, increased the sense of diminishing perspective in the background.

I made the above image with the wonderful Hasselblad X-PAN II camera (no longer made) with the amazing Hasselblad X-PAN 30mm f5.6 lens. When used in conjunction with the panoramic format the wide-angle characteristics of this lens open up a world of interesting photographic possibilities.

The original color transparency was scanned then imported into Adobe Lightroom 3 for basic processing. Adobe Photoshop CS5 was employed to convert the color file into black-and-white and then to apply a lovely warm, chocolate tone.

It’s all very well to travel along the Great Ocean Road to The Twelve Apostles. But rather than spending most of you time in the car, travelling to and from, consider taking your time and spend 2 or 3 days breaking the trip up into smaller sections. That will give you time to stop, walk and explore. You’ll be able to stop for decent meals in one of the numerous seaside towns along the way and, for the more intrepid, discover secluded locations most tourists well never know.

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Glenn Guy, Blue Sky Photography

Looking Seaward_Port Campbell National Park

Hasselblad X-PAN II camera and Hasselblad X-PAN 30mm f5.6 lens with Fuji Velvia 100F film

Here’s a relatively straightforward image that explores the concept of a frame within a frame. The rock face on the top of the cliff acts to frame the waters of the Southern Ocean below. Made along the Great Ocean Road in Victoria, Australia the serenity of the image has been enhanced by rendering into black-and-white prior to the application of a warm sepia-like tone.

Image processing was conducted in Adobe Photoshop CS5.

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Glenn Guy, Blue Sky Photography

Crashing Wave_Great Ocean Road

Hasselblad X-PAN II camera and Hasselblad X-PAN 30mm f5.6 lens with Fuji Velvia 100F film

Good timing, a fast shutter speed and a low angle of view was all that was required to make this panoramic image of a crashing wave in the Port Campbell National Park near Victoria’s Twelve Apostles.

The simplicity of the surroundings allows the wave to stand out, as does the black-and-white rendering that seems to etch the light toned wave out from the darker sky and rocks.

I opted for a warm, sepia-like tone to add a sense of nostalgia and serenity to an otherwise dramatic scene. I often enjoy the balance that is achieved through the juxtaposition of opposites within the frame.

Image Processing was achieved in Adobe Photoshop CS5.

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Glenn Guy, Blue Sky Photography

Frivolous Frivolities in Photoshop

Using Photohsop CS5 to turn an otherwise mundane pic into photo illustration

Hasselblad X-PAN II camera and Hasselblad X-PAN II 30mm f5.6 lens with Fuji Velvia 100F ilm

The above image was an adventure in desperation. I’m in the middle of a huge clean out and re-organization of both film and digital images. Along the way I discovered a panoramic image that I’d made a number of years ago on a Hasselblad X-PAN II camera. It’s a detail from the bottom of a cliff face. As its not much of an image I’II end up throwing it away. But, as I’d previously scanned it, I decided to play around for a while in Adobe Photoshop CS5.

It didn’t take long before I grew bored. I remembered the delicious chocolate chip ice cream I’d had at my best friends (Cutts) house last night. So, before you could say waffle cone, I’d converted the image of the cliff face into a melted chocolate surprise. I wondered when my niece Ali was due for a birthday. That prompted the creation of the box and wrapping paper on the right side of the image. The final touch was my name, written in sparkles.

Just a bit of fun and far more an illustration than a photograph. But that’s OK, isn’t it?

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Glenn Guy, Blue Sky Photography

Turmoil_Great Ocean Road

A  brooding image of a stormy sky on a wind-swept beach along the Great Ocean Road

Hasselblad X-PAN II camera and Hasselblad X-PAN 30mm f5.6 lens with Fuji Velvia 100F film

Here’s an image that speaks of a stormy morning on a wind-swept beach. The location itself was a lonely beach along Victoria’s Great Ocean Road. The strong wind and high tide caused me to continually scamper backwards to avoid the fast approaching water. I managed to make a few images before having to retreat back up the beach and to the car. While a brief session, it was worthwhile. The cold air and frenetic activity was invigorating and I hope the above image adequately captures the experience.

Image processing was conducted in Adobe Photoshop CS5.

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Glenn Guy, Blue Sky Photography

Pic of the Week_Drama_Cape Woolemi_Phillip Island

Hasselblad X-PAN II camera and Hasselblad X-PAN 30mm f5.6 lens with Fuji Velvia 100F fillm

Cape Woolamai offers great fun and dramatic images for the landscape photographer. You have two options for reaching the Cape from the Woolamai Beach car park. From memory its around a 40 minute walk along the beach to the bottom of the cliff or, alternatively, via a sandy track through tussock grasses to the top of the cliff, prior to a step descent down to the beach. Make sure you check the tide times, as you may not be able to follow the beach all the way around the Cape at high tide. During summer tiger snakes are drawn to the top of the cliff by the large amount of mutton birds nesting in the area. This is the nature of landscape photography, especially in a country like Australia.

I usually approach the Cape through the tussock grasses. With high tides you’re limited to photographing from the top of the cliff. But lower tides will allow you to descend to one of several rock-strewn beaches. Amazing opportunities await, particularly if you’re there at the edges of the day. Though, if you’re shoot finishes after sunset make sure you have a good torch or headlamp with you so you can safely navigate your way back to the car park in the dark. The alternative will see you stumbling around in the dark and, likely, falling knee deep through the soft earth into mutton bird burrows on either side of the track. I’II post another image from this location a week from now to give you an idea of one of the photographic opportunities that await you on the beach.

With the image above I was drawn to the graphic nature of the sunlit rock face against the dark, brooding sky. A black-and-white rendering enabled me to portray the sense of power present at the time the camera’s shutter was tripped. Adobe Lightroom 2 and Photoshop CS4 were employed to process the image.

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Glenn Guy, Blue Sky Photography

Buying Camera Equipment and What I’ve Learned Along the Way_Part II

Monk, Angkor Wat, Cambodia. Equipment: Hasselblad 500CM camera and Hasselblad 150mm f4 Sonnar lens with Kodak Professional Ektacolor Gold 160 film

Continuing on from yesterdays article I returned to study in 1989 to a degree level photography course. The previous 2 years study at the private college was not recognized so I had to begin again at year 1. I needed another camera so I purchased a 60’s vintage Rollei SL66 camera with an 80mm standard and, I think 150mm portrait lens. This was a medium format camera, producing 12 _6x6cm images on a roll of 120 film. The newer versions of the camera, 70’s onwards, were superb. Unfortunately mine was a dog and caused me some grief.

That year I also purchased a 4”x5” large format camera. Rather than the large, heavy and cumbersome monorail version, favored by studio photographers, this was a flat field camera that folded flat. It was lightweight and ease to carry. A beautiful thing all word and brass that I purchased with a secondhand wide-angle lens. It’s the sort of camera where you load a single sheet of 4”x5” film into the camera, composing the image on a similarly sized ground glass screen with a large cloth (ideally black on the inside and white, to reflect the hot sun, on the outside) wrapped around to cut back reflections on the ground glass screen.

Not being terribly competent with the camera I took it on my second overseas trip. Sadly, after arriving in Ladakh following a torrid journey through Kashmir and over the Himalayas, with numerous adventures along the way, the lens packed it in. Unable to have it repaired, I had to carry the whole kit around for the remainder of the 10-week trip. I did make several usable images, a few of which I may still have. I remember, in particular, some shots of a young Korean Buddhist nun I photographed on a rooftop in Leh, Ladakh. It was a romantic notion to be using that type of camera, much like the great early travel photographers such as Samuel Bourne, in India and the middle East, or Timothy O’Sullivan in America. The fact was neither me or the equipment was up to the task.

In 1990 I returned to another 6×6 medium format camera. I wanted a brand new Rollei SL66 kit but, being almost impossible to buy through the Australian agents at that time, I upgraded to a new Hasselblad 500CM. The blad was a good camera, though a little clunky with one or two really weird foibles that had remained with the camera since the original model several decades early. Once again I bought an 80m and 150mm lens. My old boss, John Noyes, was now National Sales Manager at the Australian distributor for Hasselblad cameras. That made the purchase of this expensive new kit somewhat easier. In case you’re wondering he’s retired and those days are long gone.

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