Greg Molyneux Photography

Tag: low key

  • Remnant

    Wide angle landscape photograph of still water and silhouette dock remains at sunset
    Remnant — 14mm | f/8 | ISO 100 | EXP 1/125

    For some time now I’ve had my eye fixed upon a derelict patch of what I can only assume was once a functioning boat dock. Now this Dock Road quay long defunct presents a photographic opportunity; its still remains offering a henge of sorts for a silhouette sunset shot. The scene was aided by an astronomically low tide where all rows of wooden teeth were laid bare, enhanced still by the dead calm water. Just about all conditions were met to make this shot happen now. With that quick mental calculus I abandoned my more familiar spots and decided to ditch all my standard protocols. Instead of the tripod I went handheld. Instead of HDR I went single brackets. Instead of low I went lower than low. I shall explain—

    Considering the near cloudless sky pumping in direct sunlight the contrast between the light and dark areas of the photograph would already be extreme—a desired backdrop for making a silhouette exposure. My standard protocol would have me make upward of seven brackets such that color, light, and detail of the overexposed brackets would fill in the otherwise blackened fore and middle ground during HDR post-processing. Because of this I would of course have to use a tripod to ensure perfect stillness throughout the brackets—note it’s generally good practice to shoot your landscapes on a tripod regardless of your number of brackets. But today day I needed to ditch my tripod altogether as I wanted to get lower than low. About two inches off the ground low. Shooting blind I go about this by feel, balancing my hands trying to keep the camera as level to the flat ground as possible such that the horizon will at least be mostly straight (whatever little corrections for getting fully level can also be handled in post processing, but you still want to get as level as possible so as not to crop out desired compositional elements in your photograph).

    I’d be lying if I claimed to be 100% satisfied with this attempt, but it’s certainly a good starting point. A photograph to build on. Probably one of the most rewarding aspects of photography is that you don’t have to get it right the first time. Like anything else repetition, patience, and consistent effort over time afford the opportunities to capitalize on the shots we want to make. For this reason I’ve been kicking around the idea of putting together a personal photography bucket list of sorts. A place where I can get my thoughts down to bring focus on the future photographs I want to make, and maybe even some of the past ones I want to remake. It’ll never be a one and done, but it will at least be a real fine place to start.

    Oh, one more thing, I made another shot after this one down at the end of Dock Road near Antoinetta’s that I will share tomorrow. I love it if only for its calm and simplicity. Cheers until then.

  • This One’s for the Introverts

    This One’s for the Introverts

    Low key black and white macro photograph of a purple coneflower
    This One’s for the Introverts — 100mm | f/2.8 | ISO 400 | EXP 1/400

    Photography as metaphor? Perhaps. Despite taking this photograph two weeks ago to the day, it wasn’t until last night that this image made a connection to my own self, and my own experience of the world. You see last night I finally made it out to one of the weekly free concerts at Harvey Cedars Sunset Park. Sure it was the last concert of the season but better late than never. Conveniently concert time synched up nicely with sunset and conditions looked promising. But it wasn’t until walking through a packed park of maybe a thousand or so peaceful revelers that I noticed my discomfort. Here I was, a fierce introvert loathe for attention walking through crowds brandishing camera and tripod. Even if the eyes drawn upon me were in my own head it was more than enough attention to heighten my heart rate. My brain downshifted into full on Imposter Syndrome, and my insecurities were happy to remind me that I’m somehow not worthy to have a camera in this space. Paralyzed by my environment I made no pictures.

    So how does this rambling anecdote into the spotted mind of Greg Molyneux relate to this photograph? Well it’s all about the desire to be left alone, an anonymous face in the crowd. While we see brightly illuminated flower petals filling the focused foreground, it’s what’s behind the petals that hits closest to home; a lone blossom set back, cast out of focus and into the shadows. This is me. This is how I live my life. Content to do my part on the periphery. And just like those bright petals I’m happy and eager to share myself and my photos open and honestly via social media and this website. It’s that I get to do so at arm’s length that most suits my introverted proclivities.

    But it wasn’t all bad. Oh no. Once I returned the camera gear to the car and walked back to a jammin’ Sunset Park, I took a seat toward the back of the grass. Relaxing in my beach chair I watched day glow fade to black, all the while being serenaded by Eagles covers. That was a good time.

    On an administrative note: this was the 200th photograph I’ve uploaded since launching this website on 18 January 2014. Pretty cool. To all of those who’ve visited—thank you!

  • La Grain

    100mm black and white macro photograph of a purple coneflower
    La Grain — 100mm | f/4 | ISO 100 | EXP 1/400

    While they may not get the same play on social media like my vibrant landscapes are wont to do, a big soft spot in my heart exists solely to express myself through the macro and black and white medium. Five minutes on a psychologist’s couch would most likely reveal this proclivity as a merger between my primary and secondary school days as something of a black and white pencil drawing enthusiast, coupled with my more recent start as a photographer who worked almost exclusively in the macro world for the better part of my first 20,000 photographs. Roots, man. You just can’t shake ’em.

    Here I’ve presented a very simple composition of one of my favorite flower subjects: the purple coneflower. Using a near side-on perspective the depth of field is quite thin. leaving only the front section of the blossom in sharp focus. Shallow depth of field brings a welcome sense of whimsy and wonder to the composition, enabling the eye to move, leaving the mind left to fill in the fuzz. By introducing noise into the photograph during post processing I intentionally wanted the resulting graininess to layer an aspect of grit and imperfection to the shot. In some ways a hat-tip to the tendency of grain to show up in old school film photography—not that I’ve ever shot a roll of film in my life. It’s OK, feel free to revoke any photographist street cred I may or may not have established up and until this point.

  • Your Moment in the Sun

    Low key macro photograph of a fly atop a Black-eyed Susan
    Your Moment in the Sun — 100mm | f/4 | ISO 400 | EXP 1/2500

    Most always when shooting macro I rely on the camera’s autofocus system to home in on a single point of focus of my choosing—within the camera’s autofocus grid selection, that is. But for this shot I switched over to full manual focus. The system was struggling to capture optimal sharpness of the fly—if anyone can identify said fly that would be great!—so I took matters into my own hands. Literally.

    All factors were ideal for the making of this shot. Wind was no issue, keeping the Black-eyed Susan still; there was a happy little fly confident enough to sit motionless for well over a minute; and lastly, a lone sunbeam illuminating what otherwise was a bed of flowers slumbering in the shadows with a welcome dose of drama. Altogether creating one of those moments were all I had to do was steady the hands, take a deep breath, and depress the shutter before the exhale.

  • Daedalus Bid You Take Heed

    Low key abstract black and white macro photograph of a purple coneflower
    Daedalus Bid You Take Heed — 100mm | f/3.5 | ISO 100 | EXP 1/125

    This is abstract. Is this abstract? I think this is abstract. A quick googling of abstract art returns the following—

    art that does not attempt to represent external reality, but seeks to achieve its effect using shapes, forms, colors, and textures.

    Once I decided to roll with low key black and white processing, all my mind could see is an unnamed papier-mâché sun, brooding near unseen amidst the vastness of space. The way the would-be corona is captured frozen in its solar flare tango as countless sun spots blot out the surface. This is no coneflower—this is a sun. Will our telescopes ever fix on such a sight? Of course not. But another photographer’s macro lens just might.

  • Lift the Veil

    Low key photograph of the Cedar Run Dock Road Octagon House
    Lift the Veil — 100mm | f/2.8 | ISO 100 | EXP 1/160

    The Weather Gods hath decide to play a cold grey trick on we the residents of coastal New Jersey. After what was a perfect Memorial Day Weekend, the cold, the grey, and the rains have set in. Of course on a macro level while this precipitation is most welcome—drought has been creeping in—it does cramp anyone’s weekend warrior status.

    I made this photograph was made 5 days ago, and we still haven’t seen a reprieve in the weather. (I have a canceled flight to Austin Texas and a weeks worth of fireplace ignition to show for it). I imagine we all like to think of the Jersey Shore come June as a magical place of sandy beaches and warm sunshine. Too bad we’re just not there yet.

    Here’s to the summer warmth that inevitably awaits.

    For the Birders: can I get a little bird help? Is that a cormorant chilling on that post?

  • Here be Dragons

    Here be Dragons

    Black and white abstract macro photograph of a Japanese Maple that looks like a flying dragon
    Here be Dragons — 100mm | f/2.8 | ISO 100 | EXP 1/100

    I’m a Game of Thrones fan. I’m a macro fan. I’m a black and white fan. So for my money here goes the trifecta. I know many folks appreciate my wide angle landscapes—the sweeping shots of the dramatic sunsets that readily pop-up along the Jersey shore. Those are great, and I love getting out there and making those photographs. But what excites me the most is getting up close and personal with the micro world at the business end of a macro lens. Old school handheld shooting I can couple with the drama of shallow depth of field and its smooth bokeh, finishing with a moody black and white photograph rendering just enough mystery and pause into the final frame. It is in these most I feel most capable—most inspired.

    And as far as Game of Thrones is concerned—am I on point in seeing a dragon here, or is that just me? Better yet? Season 5, episode 4 airs tonight!

  • Public Health Hazard

    Public Health Hazard

    Ceramicist and potter, a hooded Jeff Ruemeli smokes the last of his cigarette as he stokes the soda kiln fires in this low key black and white portrait.
    Public Health Hazard — 50mm | f/1.4 | ISO 8000 | EXP 1/40

    Obligatory Disclaimer Alert: Kids, don’t be like this hobo hipster wizard. Smoking is bad for your health.

    This past Thursday longtime pal, ceramicist, glass blower and acoustic romanticist, Jeff Ruemeli, invited us over to the LBI Foundation of the Arts & Sciences to check out this here soda kiln firing he’s been waxing poetic about for weeks. The outdoor oven apparatus—roughly 5 feet by 5 feet by 7 feet (not including the chimney) of what I’m guessing is some kind of volcanic brick—was quite cool; and glowed something fierce in the dark of night as he and his colleague worked diligently to get the temperature up to a balmy 2,300°F.

    While I was unable to get a serviceable image of the natural gas kiln itself, I did manage to make this here modest portrait; highlighting the perils of gnarly beards and nasty cigarettes. Both insidious threats to civil society. Hide your children; hide your wife.

    Without question I have a fear of portraiture; personal space and comfort issues, damn you to hell. In the future, if I find some subjects I’m comfortable enough with, it’s an area of photography I’d like to explore. As such a speedlite and portrait lens may be in my future. Hooray for cash eating hobbies!

  • Soft Spot

    50mm shallow depth of field photograph of rain soaked daffodils
    Soft Spot — 50mm | f/1.4 | ISO 100 | EXP 1/1600

    With the first turn in the weather, the calendar mandates it’s time I get back to my photographic roots. After a toddling period of crash course trial and error in the early days of 2012, flower photography quickly established itself as my go-to comfort spot behind the camera. It’s where I first felt some semblance of control in the process of making satisfactory photographs. Everything else—most certainly landscapes included—felt far too unwieldily and daunting at the time.

    But with a diverse array of flowers in abundant supply in just about every corner of my property, I had plenty of eager subjects waiting to help me learn and grow. Here I more often than not unwittingly stretched my creative muscles through soft focus and shallow depth of field with my petaled muse. I remember being quickly drawn to the way bokeh and soft focus when juxtaposed with areas of clarity can move the eye throughout a photograph, bringing layers and depth to an image. This exact relationship is what was entirely lost on me as a high schooler struggling with painting—for whatever reason I was too engrained with this hyper-realistic bias where everything had to be clearly defined and in focus. Never understanding that all that clarity, when deployed incorrectly creates competition and noise throughout a composition.

    So while the sunsets and landscapes are sure to continue, a steady dose of flowery soft focus and shallow depth of field is on the way. For now we’ll start with this daffodil—the first of my flowers to bloom.