The ice returns and is that some inspo sliding in on it? Ever since I was a kid winter has owned my curiosity. Forever my favorite weather, the cold and snow continue to demand my attention. It’s like the first time, every time.
So it should come as no surprise that when the salt marsh turns frozen the urge to get outside explodes. To my camera and the marsh I go. Only this time a proper stop further.
For the first time since December 2020 (five years!) I am publishing a photo from Great Bay Boulevard. Once part of a steady rotation it’s been a casualty of a stalled hobby. For the first time in years, thoughts of making photos land upon my brain. It’s happening several times per week, easy, and usually in the shower. Where once there was desert, there are no motes of water, frozen as it may be. As for GBB, it was awesome to be back, and I am starting to feel I may be back.
Interested in buying? Purchase and ship direct through SmugMug.
The Gift of Winter — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures
No two sunsets are the same. This we know to be true. Return to the same place over and over again and you’ll be chasing unicorns to hunt down a pure facsimile. It’s best to take each unique moment and capture its joyful light as best you can, while you can. It’s a welcome lesson in the natural function of impermanence. This doppelgänger is impossible to find.
Tonight, however, I came close. In what I can only describe as the spiritual successor to Ruinous Splendor—changed only by time. Made just over five years apart at near the same exact track of bulkhead I give you the best sunset photograph I have made in five years. Recognizing the subjectivity of such claims I defer gracefully if you disagree in preference to another sunset photograph I have made. These decisions belong to us.
Winter sunsets, man. In particular winter sunsets heralding oncoming winter weather near always produce. While tomorrow looks to be a nuisance event with rain in southern Ocean County, winter weather will hit New Jersey tomorrow in the form of a weak coastal low. This, of course, is merely an appetizer for a far larger and more powerful system poised to wreak havoc on the entire region Wednesday into Thursday. Jackpot zones will be measuring in feet. Buried cars, bread and milk in short supply. Still over 72 hours out, where the rain/snow line and axis of heaviest precipitation set up remains up in the air. Stay close to Weather NJ’sFacebook page to keep up with the latest. You can bet I’ll be back out shooting Tuesday to see the big storm’s harbinger sunset.
Shout out to the universe today for giving me exactly what I asked for. This morning, while thinking about my photographs this year, I envisioned how great it would be to have at least one more clear cut entry into my annual best of series for 2020. My output has been solid enough this year, though real standouts have been lacking. Well, my Christmas gift came early. Thank you.
Ice World Ignition — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures
Tonight made for a proper sunset. The essential cadre rolled deep and even brought the support staff. There was snowpack, sea ice, disused dock pilings, and a painted reflection brushed by a solar goodbye burning out slow with smoldering intensity. It was fantastic.
Sure the temperature was biting and the wind unforgiving. Of course leaving the house with a pair of gloves would have made perfect sense. Hey, even a woolen hat would have proved wise. Yet when the ice world ignites the fire inside burns passion red.
This is winter at the beach. This is when the power sunset hits, when the seascape on our eastern flank locks in ice and casts a panoply of color. The marshes, bays, and coastal ways captured by cold, locked tight to the landscape despite battle from tidal forces. The power needed to freeze the land and stem the tide is striking. Cold, weather, nature—it all means business. A reminder of impermanence and subordination to big ‘N’ Nature.
Cold as I was, I was beyond pleased to be out exercising camera tactics amid the cold splendor. It was obvious this was the best shooting conditions I’ve encountered in months, even longer. The most promising since late last summer when I made a bunch of great shots only to have a corrupted file transfer render all data unretrievable. That moment had left a sour taste in my mouth for months. This evening cleansed the palette and froze it all away.
After a low output 2018, I am pleased with efforts and outcomes in 2019. I committed to making this a better year for my photography. I am delivering against the commitment. Writing about it here helps hold me accountable. It makes it more real. A commitment to myself and to you welcomed website visitor. Yes, you.
With any luck it is a touch warmer where you are at, and you were able to enjoy this photograph in comfort. Cheers, and thanks for your support and attention.
The twin forces of time and water erode a once proud place of recreation and enterprise. Torn asunder in Sandy’s rage, the derelict of Rand’s continues to degrade. The months pass and the irresistible force of nature reclaims as it is wont. In the absence of human intervention the twin forces return the natural order. The skeletal remains that once brought safe harbor to ships fade in a slow, inexorable exodus to the sea. With the outpost unmanned nature will have what is hers. Nature will always have what is hers. The twin forces do not sleep.
Moments after a snow squall moved through that wrought dramatic clouds cast in a pink orange glow, the color palette transformed almost instantaneously as a soothing sunset appeared wedged between storm cells. A five minute respite in an otherwise turbulent Friday afternoon. It was all a weather/photo geek could take. Now I’m not one to normally use parking lots as a primary feature of my landscape compositions, yet for a while now the sandy lot of what was once Rand’s Marina has caught my eye. Its pockmarked puddles with their dark pools and alluring reflections performing sublime feats with the light that dance upon their sheen have long begged for my attention. As it was I laid out a foreground and as the sun broke free just atop the horizon I was ready, camera in hand.
Cracked and Cruel — 14mm | f/8 | ISO 100 | EXP 1/160
Poring over Lightroom this morning with a fresh set of eyes it seems a solid chance I will publish upward of four photographs from yesterday’s Great Bay Boulevardgolden hour shoot. While the initial shot I posted happened right in the thick of ever changing weather, I thought it best to post the remainder of the set in sequential order. This shot shares the added benefit of having similar light to yesterday’s; the others will not share such hues. Without further ado let’s talk about chronological photo number one.
Here I present a serendipitous exposure—a bank error in my favor, if you will. I forgot I had autofocus selected on my 14mm lens, a remnant from a photograph made on my last shoot. Considering it had been a couple weeks I was ripe for oversight. Remember kids, always check your gear! What could have been a costly error wound up producing an unexpectedly suitable outcome. While the focus ring had an automated mind of its own, it brought sharp focus to the center of the frame—keying on the skeletal remains of what I can only assume were once vivacious mussels—vivacious as far as bivalve mollusks go, anyway. From this unintended area of focus the sharpness decreases as it moves out throughout the rest of the frame, becoming increasingly soft at the edges adding to the sense of ruin.
Now, if you’re asking yourself how would have I made the shot had I been paying attention and took back control of my focus? Well, I would have gone with my standard play of hyperfocal distance, leaving the focus ring set a hair left of the infinite line. This would have rendered an even sharpness throughout the whole frame. In this case I think the accident is better. Camera’s computing power: 1, Greg Molyneux: 0.
Finally, a design choice I consciously made with this image came in post-processing. I’m talking about the crop. The long spanning boardwalk in the foreground had me thinking go aggressive from the get-go. With that I cropped into a very wide 3:1 ratio—my second such photo using said ratio. This brings the poor mussels situation front and center, greeting the viewer with the immediacy of the scene. This exposure was made only about an inch above the boards and this drives home the intimacy.
Once More Unto the Breach — 14mm | f/8 | ISO 100 | EXP 1/400
People, can we take a moment to talk about this photograph? I try my best to avoid any and all self aggrandizement while beating my chest set atop a majestic horse who itself sets atop an ivory tower, but man, I am in love with this picture. Let’s start with the truthful reckoning: I in no way shape or form set out to make this photograph tonight. I went to what’s left of Rand’s Marina along Great Bay Boulevard in search of a sunset—the kind you’ve all seen here time and time again—yet I came home to find this diamond in the rough waiting for the figurative drill and polish. To be brutally honest I made this as something of a throwaway. I was doing my usual handheld single shot investigation of the premises trying to lock in my final composition where I’d then set my camera upon its tripod only to mill about, fiddle with my phone, and wait for the sun to set. And while I remember staring down the viewfinder when making this one-off I had a brief, well this has an interesting look to it thought fly in and out of my skull. It was the ramp descending into nothingness that was noteworthy at the time. From there I went to a different spot entirely to take my sunset position and wait.
However once I got home and imported into Lightroom its potential started to command my attention. With a few preset and slider manipulations I landed on this brooding, low key wonder. It was perfect. The intensity. The mood. The loneliness. The power. All of it speaks to me in ways I struggle to articulate. I can’t say I’ve ever been moved quite like this by my own work before—even falling back to my art class days of painting and drawing. Somehow something has clicked here. Perhaps it’s the far departure from my typical work? Maybe it’s the happy accident that led me here? Or maybe still it’s something I can’t yet figure out? All I can say is that I pleased by the emptiness and depth this image evokes.
Blue Window to the Soul — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures
There’s little doubt Rand’s Marina has rocketed up my list of favorite spots to photograph. The cedar pole and bay water combination provides plentiful foreground opportunities, and it’s compositionally strengthened with derelict dock remnants in the middle ground backlit by marsh, clouds, and sky background. It’s just a great space for making landscapes. While this shot was made Monday, December 5, 2016, I didn’t have enough time to get it posted until today. Preparations for a long, exciting week with the day job took precedence; laundry must be done, and bags must be packed, ya know? But now that I’m back home I’ve got time to properly blog it up.
Looking forward a bit, it’s getting to that time of year where I’ve got to start thinking about selecting 12 shots for my annual best of—due out December, 24, 2016. The past two years its proven to be a fun retrospective of a year’s week. It’s proven a great way to benchmark where I’ve come from so I can calibrate where I’d like to get to. Beyond that, I’ve gotten my hands on a Pulse Camera Remote from Alpine Labs—it’s charging now!—and I am eager to broaden my horizons through the world of time lapse. For years I’ve been wanting to explore this road but I never pulled the trigger on an intervalometer. Finally that time has come. Now I just need to figure out what I’m doing. . .
