Greg Molyneux Photography

Tag: long exposure

  • Moonlight Tonight

    Wide angle landscape photograph of a Full Moon over marsh at blue hour
    Moonlight Tonight — 14mm | f/8 | ISO 100 | EXP 10 sec

    Peering through my driver side mirror at 7:02 a.m., having just crossed the Delaware River—Turnpike Toll Bridge into Pennsylvania ,I saw what I thought would be my best shot of the day. My mirror showed the truth: sunrise was gorgeous, and there I was stuck in my car en route from my home state of New Jersey to facilitate a training session for work. The fiery sky was remarkable, grade A stuff, and I had little recourse but to chuckle at my misfortune of missing a sunrise I was actually awake for. Alas bills must be paid, and this guy must digress.

    Home in time for a sunset I assumed I’d bag a good one at the usual stomping grounds. Upon arrival I immediately noticed what appeared to be a Full Moon breaching the northeastern horizon. Content to ignore our natural satellite I set up for sunset. Unfortunately sunset never came. Well, it did—it just happened to be a total letdown. What I could have sworn was an ideal cloud deck resulted in colorless vapor. I was giddy thinking the end of day would watch this morning’s glory but #nope.

    Well into blue hour and hoping to salvage the shoot, I moved my tripod to the other side of the road and made for the Moon. In hindsight I’m pretty damn pleased I did. I don’t have many Moon shots—in fact I don’t think there’s a single one on this website—so it’s nice to add a nice new wrinkle to the cache. I hope you enjoy.

    Related: October has been a good month for photos, and it was needed after a slow September.

    Interested in buying? Purchase

  • The Scene Takes Shape

    Wide angle astrophotography from Stafford Forge Wildlife Management Area
    The Scene Takes Shape — 14mm | f/2.8 | ISO 320 | EXP 30 sec

    It’d be fair to say I stepped out of both my comfort and interest zones last night. Astrophotography is a far cry from my forte, and while I do love the stars and the night sky, it’s a technique I’d rather observe through the lens work of folks far more skilled in its execution than me. And while photography is about picking and choosing your battles, like anything else there’s little harm in hopping out of that creative box to experience some new applications of the craft. Learning should never stop, right?

    With clear, crisp skies overhead and a New Moon fast approaching, last night was sure to be as good a time as ever to head out for a little night work. At a loss for what to do, Joe and Jackie piped up that astrophotography should make up at least some of the night’s fun—Mario Maker aside the fireplace would come later. Taking their idea and moving it forward I offered up the Forge as our target destination. It’s close to home and gets pretty dark—by New Jersey light pollution standards anyway. And yet, while the Forge may had been my suggestion kudos to Joe and Jackie for bringing me out to a peninsula that had been never before tread by the likes of Greg Molyneux.

    It was only 9:00 p.m. by the time we hiked out there. I use hiked loosely as it was more like a 5 minute walk through the woods. But let me tell you it sure was dark. With no moonlight overhead it was only a matter of feet before all was consumed by the inky blackness. It was a creepy way to start the fall season. Creepy in the best way, of course. Out on the peninsula and flanked by water on all sides, framing up a serviceable composition became something of an exercise in trial and error. With my limited experience my “approach” consisted of some high ISO shooting into the black. Sure it blows out the shot but it’s a quick and dirty way to see what’s in your frame. Once all that important busy work was out of the way, and I had the shot I wanted such as it is, I simply dialed back the ISO all the way down to 320. From there I made my final shots.

    Walking back out to the car proved more creepy than the journey in. It got worse when we happened upon the cryptic writing scrawled on the trunk of a recently felled tree. Words that seemed to suggest leaving the area with much haste was the recommended course of action. Or else! From there paces quickened and flashlights brightened. As the caboose in this procession of three I made the poor choice to turn and look behind me. Total black out. Again it was the good kind of scared.

    Night photography aside I can’t wait to revisit this location for sunset!

  • The Demons of Our Dreams

    Wide angle long exposure photograph of a demonic shelf cloud over Barnegat Bay
    The Demons of Our Dreams — 14mm | f/2.8 | ISO 100 | EXP 30 sec

    When I’m titling my photographs I most always go with the first word, phrase, song lyric, or bit of text that comes to mind. It’s a quick and easy approach that keeps me from overthinking my named works. I broke that rule today. I wanted to go with Death Comes for us All, but an apprehensive voice inside me chided that might come across too strong. Death’s a touchy subject, and I’m not here consciously looking to set off any triggers. Ergo I downgraded to demons.

    What led to the death/demon connection in the first place? Well as I look at the 30 second long exposure rendering of this photograph, with its low hanging shelf cloud accentuated by motion blur marching across Barnegat Bay; a Titan’s visage, gaunt and brooding, manifests pressing downward through the clouds ready to escape its confines to breach the bay and do its worst. It is both spooky and spectacular—natures reminder of the omnipotence of the universe and our fleeting moments hurtling about our own speck of space.

    This photo session started out as an attempt to capture a less abstract look at storm clouds, and even more specifically some lightning. Instead something wholly unexpected manifested on the sensor. That’s the way photography goes sometimes, and it’s important for us to always keep an open mind to the unintended outcomes it may render.

  • Long Exposure Carnival Swings

    Long Exposure Carnival Swings

    A blue hour long exposure landscape orientation wide angle photograph of Wave Swinger; a carnival swing captured in motion at Casino Pier, Seaside Heights, New Jersey.
    On Saturn’s Rings — 14mm | f/8 | ISO 100 | EXP 1 sec

    When the nice weather comes you’ve gotta move. Yesterday was beautiful and revelers from all over descended upon a retooled Seaside Heights Boardwalk to soak in some sun, surf, boardwalk fare and top-notch people watching. Never having been one to sing odes to the virtues of a once beleaguered Seaside Boardwalk, I was beyond impressed to see the result of a double rebuild; first at the hands of Sandy and then by way of substantial fire. It’s been a rough few years along New Jersey’s shore but if appearances are any judge a bounce back is in the works.

    A blue hour long exposure portrait orientation wide angle photograph of Wave Swinger; a carnival swing captured in motion at Casino Pier, Seaside Heights, New Jersey.
    Circular Motion — 14mm | f/8 | ISO 100 | EXP 1.3 sec

    After some walking, eating and possible drinking we made for the car and the camera bags. After footing it back to Casino Pier the sun was making its final descent. With marine layer clouds blotting out the sunset we killed some time hitting the rides. First came Disko and then came Tilt-a-Whirl. Click the link, watch the video.

    Once that nonsense was out of the way we finally set up and made our long exposures. Back dropped by the bright lights and a soothing blue hour, conditions were ideal to make a photograph I’ve long since coveted: long exposure carnival swings. Without having to deal with swelling crowds, we were able to set up for a good ten minutes of uninterrupted shooting as day transitioned to night. For a first crack, I’m quite pleased with the result.

    A blue hour long exposure square format wide angle photograph of Wave Swinger; a carnival swing captured at rest at Casino Pier, Seaside Heights, New Jersey.
    The Suspended Spirit — 14mm | f/8 | ISO 100 | EXP 3.2 sec

    Hoping for one more run of exposures, the ride called Wave Swinger was shut-down. The hopeful riders you see above were propped up for a handful of revolutions before being levied a premature return to solid ground in the cold form of diamond plate steel. Off they went left with little more than suspended spirit.

    For those interested in the physics behind carnival swings and circular motion.

  • Out for a Spin: Light Painting with Steel Wool

    Out for a Spin: Light Painting with Steel Wool

    Two orbs of spinning steel wool to light paint a tree.
    That’s one way to backlight a tree — 14mm | f/8 | ISO 100 | EXP 30 sec
    Light painting with steel wool to create the illusion of a tunnel.
    Have you ever seen a portal? — 14mm | f/8 | ISO 100 | EXP 30 sec
    Light painting with steel wool to create an anticyclonic effect.
    Anticyclonic — 14mm | f/8 | ISO 100 | EXP 30 sec
    Spinning steel wool overhead to light paint a position reminiscent of a resplendent She-Ra lifting her sword.
    She-Ra? — 14mm | f/8 | ISO 100 | EXP 30 sec

    It’s pretty amazing what steel wool, wire whisks, 9-volt batteries, cameras on tripods, and some friends can do. And frankly, if you’ve already shelled out the cash for the camera and tripod this becomes cheap fun with pals. It’s best paired with dark nights, bonfires, and any libation of your choice.

    Every now and then—probably not as often as we should—we get together to just spin steel wool and hang. We probably first started dabbling with this about two years ago. Many others have pulled off far greater feats of light painting goodness. My friends and I? We’re still getting our feet wet but having fun doing it.

    Some shout-outs

    As usual thanks to Ben Wurst (my frame guy) of Reclaimed LLC—excellent 100% salvaged wood crafts and custom framing that will make the most excellent holiday gift—for hosting. His house and wood shop are housed on ample property at the edge of the Pines. Giving us ample room—and darkness—to safely spin steel wool at our leisure. Ben’s got another angle of the tree (the double orb above) over on 500px.com. That’s my camera shooting in the foreground. Check it out.

    And of course to Jen (rocking the steel wool in Have you ever seen a portal? and She-Ra? Bonus points are in order as these were her first two attempts at spinning ever. And thanks to Jackie for doubling up with me in That’s one way to backlight a tree.

    For everyone else that was there—when are we doing this again?

  • The purpling storm

    The purpling storm

    Long exposure lightning photography taken from Cedar Run Dock Road. Cloud to cloud lightning ignites the sky in an electrified purple glow.
    The purpling storm — 14mm | f/8 | ISO 800 | EXP 30 sec

    With Summer winding down last night offered what may turn out to be a last chance storm chasing session for the season—not that I’ve had any storm chasing sessions this season, but I digress…

    As the clock passed 10 with a line of thunderstorms approaching, I had the opportunity to head out to Dock Road to take some photographs. I went out with a buddy (storm chasing is much better with a friend) and set up ye olde trusty tripod facing toward the south. With lightning firing 360 degrees around us it didn’t take long for the spookiness to set in. Maybe it’s just me, but it’s a bit scary holding a metal object in the middle of a marsh plain surrounded by storms.

    As we were out of the car shooting from the road’s shoulder, nervous about all the electricity, we began negotiating how minutes we had before we absolutely had to bail and get back in the car. As we were down to about two minutes left, with cloud to cloud lightning crackling all around, we heard the loud drone of what sounded like a boat. Get the hell out of here, we thought. But sure enough, there it was, a small outboard motoring down the marsh, racing to get back to dock. As bugged out as we were, I can’t imagine what those steaming in on the water were thinking. Oh, and the boat had no light’s either, so there’s that.

  • Just last night

    A long exposure wide angle landscape photograph taken at night just in front of the lake at Stafford Forge Wildlife Management Area. Low clouds race across a sky that's back-dropped with stars.
    Just last night — 14mm | f/2.8 | ISO 400 | EXP 30 sec

    It wasn’t until my buddy Jon and I were heading back over Manahawkin Bay en route to the mainland by way of the causeway bridge that we took note of the sky; brightly lit low hanging clouds were racing across it, seemingly illuminated by the light pollution below. Once back at my house we quickly decided to make a run for Stafford Forge Wildlife Management Area for photographs. I hadn’t been night shooting in a while and was more excited by the idea than usual.

    Once there the clouds had filled in a bit more than we would have liked. And the bugs? Well, they were doing annoying bug things. But after about a half hour some clearing came to bear and brought some stars into the exposure. This shot was my last of the night and it just so happens to be my favorite.

  • Bob Ross, still with us

    A long exposure HDR landscape photograph taken at the Ballanger Creek Habitat Enhancement Site. Darkened clouds overhead make their way about the sky reflected on water as still as glass.
    Bob Ross, still with us — 14mm | f/22 | ISO 100 | EXP 41 sec

    I grew up on Bob Ross. Streams. Mountains. Happy little trees. And while I never could paint, I’m fortunate to have found the medium of photography to capture our world in my own way.

    Under impressive cumulus clouds and an afternoon of time to kill, Jonathan Carr and I ventured out to Ballanger Creek Tick Habitat Enhancement Site. Seriously, Jon brushed off four of them. He was also wearing flip-flops on a nature trail. So, you know.

    Upon recommendation of my buddy and kick-ass photographer, Vincent Damiano, I acquired and applied gaffer tape to my viewfinder and the small gaps of space about my ND filter mount. It worked. Previously I have struggled with excessive grainy noise around the perimeter of my ND filter shots. I suspected minions of light leaks were at play. My hunch was well-founded as I am pleased to report the gaffer tape did its thing.

  • Slow it down

    A low key long exposure black and white photograph taken over Barnegat Bay from Sunset Point in Ship Bottom, New Jersey. This photograph is marked by dark tones and strong contrast across the horizon.
    Slow it down — 14mm | f/8 | ISO 100 | EXP 361 sec

    Tonight was a tease. All signs pointed toward a top notch sunset: rolling storm clouds, a clearing westward cloud deck, and even some small rainbows dancing about the horizon. The ground and houses were awash in a fierce golden light and the anticipation was on.

    Heh. So much for that.

    A last minute wall of clouds crept over the western sky consuming the sun some twelve minutes earlier than scheduled. This stout blockade all but assured the sky wouldn’t do its fickle light dance this night. But you know what? It worked out. My buddy Vin happened to stop by for pictures as well. Instead of seriously shooting the sunset we thought we were getting, we passed some time talking shop. In doing so I captured one 360 second long exposure photograph—the picture you see above.

    For the final processed imaged I wanted to convey movement and minimalism. Black and white naturally lends itself to this aim, but I furthered the drama with a low key approach—reducing the exposure and reigning in the viewer’s eye toward the action above and below the horizon; leaving ample negative space gives the image room to breathe, naturally working the eye through the moving clouds toward the center.

    If you’ve got some time be sure to check out Vin’s work!