Greg Molyneux Photography

Tag: night photography

Up at Night
Up at Night — 14mm | f/2.8 | ISO 1600 | EXP 10 sec
COVID-19 has taken many things. Lives, livelihoods, lifestyles, and liberties all curtailed as we continue to confront an ongoing public health crisis. It’s been tough and there are few to argue otherwise. A lower tier robbery thieved by COVID is spontaneous fun. The need to social distance to keep group exposure minimized has taken away spontaneous fun. You know, the plans that didn’t exist until you get a text message from a friend like, yo, get here now because we’re all doing [insert cool fun thing here]. And boom, unexpected excitement dropped into your life; the best kind of fun. This tale has in no way told the COVID story. Homebound monotony has long held sway.
This changed for me on Thursday. Ben Wurst dropped a small group text to Jonathan Carr and me saying we should go out tonight for astrophotography. Initially I thought this was a nice sentiment, something fun in theory, but I did not expect it to shake out. I was pleasantly surprised to return from my run to see Jon was in and the game was on. Thursday night in the pines it would be.
Around 10:00 p.m. Thursday we all met up roadside on 539 south in Warren Grove to hike in about a quarter mile to the top of the world. The top of the world is a hyperbolic name given to a small hill outcrop on an otherwise flat bowl of pygmy pines. The pygmies are a unique set of stunted pines found in the southern part of the New Jersey Pinelands. Kept small by wildfire, these bonsai-esque pines stand low—most well under six feet tall. A small sea of mini trees standing sentry for centuries. It’s a cool sight, and this was my first trek out there since January 2016. It had been a while.
From here we tried our best at making astrophotography on a clear, moonless night. The visibility was excellent, and shooting stars dashed the night sky on regular intervals. Honestly, I didn’t even care about the photographs I was making, I was just happy to be out having unexpected fun with friends.
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December 12, 2020
Land Bridge
Land Bridge — 35mm | f/1.4 | ISO 100 | EXP 20 sec
Friday evening I hitched a ride with Jon Carr and we made our way to Great Bay Boulevard. The hope was twofold: 1) outside shot at a well timed break in the clouds for sunset ignition; and 2) with a segment of thunderstorms approaching from the west, lightning captures were on the table. While neither outcome panned out in the ideal the night wasn’t a total wash. Under the gun of days of stiff west by northwest winds, a blowout tide exposed a land bridge and thereby allowed me to shoot from a sand plain that’s far more often than not under the cover of brackish water. Advantage: Greg. This afforded me a rare angle on Great Bay Boulevard’s first bridge, and I did my best to exploit the opportunity.
Surely I wanted some high drama cloud to ground lightning from this vantage point, but considering we were about 20 miles south of the real action that simply wasn’t in the cards. Instead I tried to make the most of the cloud level flashes coupled with the low cloud deck that was bouncing the light pollution in a cool array of orange, pink, and purple hues. One of the reasons I added a 35mm lens to my bag was for some better lightning photography. More often than not the 14mm is just too wide, and unless you have the fortitude to let the lightning get right over your head the bolts are oft too far in the distance. My hope is the 35mm while bring in the right amount of intimacy while remaining wide enough to still capture a good piece of the sky.
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April 3, 2016
Moonlight Tonight
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.
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October 26, 2015
The Scene Takes Shape
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!
October 11, 2015
The Demons of Our Dreams
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.
October 10, 2015
Long Exposure Carnival Swings
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.
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.
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.
April 19, 2015
Symbol of Strength
Symbol of Strength — 14mm | f/2.8 | ISO 5000 | EXP 1/30
To better set the stage take a watch—and listen—to the snow bands and high winds that slammed into Barnegat Lighthouse Monday night. Please excuse my shaky hands.
Taken a the top of the 10 o’clock hour, I tucked in low and close along the concrete seawall that runs all the way out into the inlet. With the wind at my back and cover to my right flank, I was able to affix camera to tripod and rifle off a few shots before the combination of intense snowfall and wind compromised the clarity of my lens. Wanting to capture snow flakes and the lighthouse beams in the shot I had to dial my aperture wide open and crank the ISO to 5000. This afforded me a 1⁄30 exposure—fast enough to freeze the scene.
Distracted by storm and snowfall I arrived home and ignored the contents of my memory card. It’s only today, Wednesday, that I’ve gotten to really see this shot for all its worth. Black and white processing was the obvious choice from the get go, with the white of the lighthouse lending strong contrast against the backdrop of a roaring night sky. The Lighthouse itself bears the brunt, revealing an icy spine running vertically down the whole of the structure just to the right of center—its unwavering position a testament to the steady, yet unrelenting direction of the fierce wind howling out of the north-northeast.
When you’re out there exposed to the elements as nothing more than a vulnerable sack of human, you really appreciate both the intensity of weather and the fortitude of man. Here stands a singular column, standing sentry, strong as ever.
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January 28, 2015
Out for a Spin: Light Painting with Steel Wool
That’s one way to backlight a tree — 14mm | f/8 | ISO 100 | EXP 30 sec
Have you ever seen a portal? — 14mm | f/8 | ISO 100 | EXP 30 sec
Anticyclonic — 14mm | f/8 | ISO 100 | EXP 30 sec
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?
December 11, 2014
The purpling storm
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.
September 7, 2014