Greg Molyneux Photography

Tag: low key

  • The brooding Hyacinth

    A low key black and white macro photograph of a lone Hyacinth flower. The shallow depth of field and stark contrast lend a strong mood to the picture.
    The brooding Hyacinth — 100mm | f/4 | ISO 100 | EXP 1/200

    I’ve been waiting for this little guy to show up—one of my favorite early season flowers. At this point I was beginning to think it wasn’t gonna show this year. But finally, just the other day, this lone Hyacinth finally reared its welcomed head. Now ready for the camera, I spent some time this afternoon snagging a few macro photographs.

    Taking my first look at the shots in Lightroom, it became quickly apparent that sticking with color was going to be rather ho-hum. Fortunately, some strong contrast added to a black and white finish really stepped up the intensity to demand more attention.

  • 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!

  • Hear me

    A low key black and white photograph of an early spring three petal flower. Stark contrast and a center focus on the pistils mark the picture.
    Hear me — 100mm | f/4 | ISO 250 | EXP 1/400

    Update: Thanks to @dpalamino from Twitter I’ve learned this flower is a crocus.

    Here’s another shot from yesterday’s brief photo session. Bonus points if anyone can identify this flower for me.

    Onward with the black and white binge—I knew straight away I’d at least have to give this a look sans color. To that end, I needed this image to be dark. Dark with strong contrast to render well defined edges.The lines marking the three petals draw the eye inward toward the center bouquet of pistils. There, floating, the eye hangs with the image gradually letting you pull back out.

  • Pine bound

    A low key macro photograph of the end tip of a pine branch. Tucked away within the pine needles, small brown nodes of new growth mark the focal point of this image.
    Pine bound — 100mm | f/4 | ISO 100 | EXP 1/250

    I had some time to kill yesterday and met up with friends at my buddy’s place. With some fresh growth breaking ground across the property I went for the macro lens. After all this time attached to my wide angle lens, the macro felt good and comfortable. Like meeting up with an old friend.

    I made my way flower to flower (most of which were daffodils this early in the season), even stopping at some fungal growth clinging to old wood, until I settled upon a little pine tree. Eyeing it up I went with a center focus on the new growth.

    In this setting applying heavy contrast during post processing serves to draw attention right to the midpoint while the background falls away into blackness. I had a hard time deciding upon this image and its black and white equivalent. I like them almost equally. Perhaps I will post that interpretation later.

  • Low tide allowance

    A seven frame black and white composite exposure of a wooden bulkhead and mounded jetty rock define the portrait orientation scene with Barnegat Bay expanding off to the right.
    Low tide allowance — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures

    Today’s photo excursion began in Harvey Cedars, moved to Surf City, and ended in Ship Bottom. Harvey Cedars and Surf City were total busts as it seems Long Beach Island is now near void of exposed jetty rock. This is for the best environmentally as the beaches have been built up and reinforced by a substantial rolling berm. Storm protection and preservation comes first.

    With the oceanside long exposure jetty shot out of the question we turned to the sure thing of the bay. Returning to Sunset Point I meandered about looking for a workable solution. The sky was overcast, the water calm, and obvious shots were not exactly jumping out and boasting, here! Looking over the bulkhead I noticed an exposed tract of land with about 2 feet of exposed sand fighting off the bay water. I hopped down camera in hand and had my buddy pass down my tripod. I set up my gear, made my exposures, and climbed back out of the encroaching bay.

    Considering the general overcast I had an inkling this would lend itself to a high contrast, low key result. I’m satisfied with the end product.

  • Black stars rise

    A moody long exposure night photograph overlooking the marshland toward Atlantic City.
    Black stars rise — 14mm | f/2.8 | ISO 100 | EXP 30 sec

    Yesterday photography happened by dawn, dusk, and night. By the time the evening rolled around my friends and I were hoping to head into the Pinelands for some astrophotography at Bodine Field. By the time it came time to head out a quick look skyward to us all we needed to know—we were clouded out.

    Plan B.

    And nothing sounds more official than a Plan B.

    We quickly readjusted focus and turned our destination toward Great Bay Boulevard. We had designs on incorporating Atlantic City and the brooding clouds into our shots. I only made a few exposures and when I cam home to process I decided pretty early on that I wanted go black and white. A nice moody monochrome, dark and evocative. I’m happy with the result.

    As for the title, Black stars rise, this is an homage to my new favorite obsession, HBO’s True Detective. Fantastic stuff that has my mind running.

    It’s time, isn’t it? The black star. Black stars rise. I know what happens next. I saw you in my dream. You’re in Carcosa now, with me. He sees you. You’ll do this again. Time is a flat circle.

  • A subtle loss of clarity

    A black and white photograph taken by Manahawkin, NJ, photographer Greg Molyneux of the south facing marshes of Great Bay Boulevard in Little Egg Harbor Township.
    A subtle loss of clarity — 14mm | f/8 | ISO 100 | EXP 1/15

    Yesterday—this being posted a day late—was shaping up as one of those sunsets that look good on paper. A quick look out the window 90 minutes prior to the sun’s scheduled egress looked promising; bountiful clouds with dramatic bottom-side shadows littered the sky. I was pleased. Yet as it has done so many times before, the fickle clouds made their final escape no less than a half hour prior to sundown, leaving a blank canvas of deepening blue sky.

    Disappointed? Maybe a little. But I still liked what I saw. I had a suspicion my location and the clear sky color gradient would make for a more than serviceable black and white. After a few test shots trying to make something out of nothing I abandoned the tripod and took the camera in my hands. Occasionally I do this thing in the fading light where I move my hands across the horizon from left to right as a lazy shutter—1/15 of a second in this case—makes its exposure. This creates a softened blur that if you’re lucky enough evokes its own kind of whimsy.

  • Snow noir

    A black and white abstract photograph of a street light with falling snow. Shot with plentiful bokeh in a film noir style. Taken by Manahawkin, NJ, photographer Greg Molyneux.
    Snow noir — 14mm | f/8 | ISO 5000 | EXP 1/40

    Nighttime snow will forever mean one thing: incessant checking of the streetlights for evidence—and intensity—of falling snow. Snow lovers know what I’m talking about.

    This winter has been somewhat vexing. There’s been plenty of snow but not enough opportunity for my camera and me to exploit it. With tonight’s passing clipper, I was not to be stopped. Even if it meant a quick jaunt to the streetlight one house down. But hey?

    With one quick exposure into moderately falling snow and a streetlight I’ve gazed up at so many times before, my camera made real what my mind imagined. I knew immediately this was destined for a very deep sepia treatment and one cool outcome. I hope you enjoy.

  • Kicking Around on a Piece of Ground in your Home Town

    Low key black and white macro photography of a Small Blue butterfly resting on a hydrangea leaf
    Kicking Around on a Piece of Ground in your Home Town — 100mm | f/8 | ISO 400 | EXP 1/320

    I remember photographing this Small Blue butterfly like it was yesterday. She made for the most patient of subjects, giving me a solid five minutes to position, hone in and shoot. I intentionally underexposed for a low key effect, and then in post processing with Sliver Efex Pro 2 I bumped up the brightness on the Small Blue to give her the visual weight she deserves.

    The show is all about this here butterfly.