The Morning Look — 35mm | f/5.6 | ISO 100 | EXP 1/30
In my last post I talked fishing. Fishing and photos. Here I offer another sunrise photograph made on 12 November 2023. A simple left to right pan shot to pull the colors across the frame. And what wonderful dawn colors were pulled that day.
For a few years now I have been near all in on panning my landscape frames. And if anything, its personal appeal only grows with time. I often think of ways to articulate my fondness but stumble with awkward, poorly expressed thoughts. An art critic I am not. That said, I’ll stick to basics.
First is color. By moving the camera during shutter depress lines blur, details merge, and color is most of what remains. It breaks down form into little more than moving color. And this color shines best at sunrise and sunset.
Second is movement. The blurred streaks come from panning the camera left to right, level to the horizon. Motion blur. Simple as that. Through this technique the movement of your hand during the exposure works as the hand of the painter brushed upon their oils. Moving the eye, moving the heart.
Third is line work. Sharp line work. At first blush this statement may read contradictory and absurd, but hear me out. By keeping a level camera plane throughout your pan, flat horizons become a razor’s edge. Sharp and defined. This grounds the viewer, placing visual queues of where and how to look. Amid the blur and soft focus it reveals the scene, which brings me to. . .
Abstraction. Fourth is abstraction. Through color, movement, and sharp line work our blurry puzzle is near completion. Even though the often crucial presence of sharpness and detail is missing, the photographer yet conveys the scene with a full, albeit distilled effect. You know this photograph, despite its blur and motion, you know this a beach glowing in the splendor of dawn.
The mid-Atlantic fall run has brought big smiles and tight lines to striped bass enthusiasts up and down the New Jersey coast. Whether by boat or by surf, the 2023 fall bite has been certifiable. So far this season I have made it out thrice—once by boat, and twice by Ship Bottom surf. Naturally I have zero fish to show for it. My cousin, however, photographed here, had himself a banner day by center console. Too bad I was not there with my camera.
One thing we did catch, however, cold hands aside, was a fantastic 12 November sunrise. During a brief pause in pre-dawn plugging I made this exposure with my 35mm. Given the excitement of fishing, a fiery sunrise, and frozen fingers, I missed precise execution on this frame. Given the sluggish shutter speed the focus is softer than I planned. The good news is that I rather enjoy the effect it’s laid over the final image. It lends a painter’s touch and the 1/15 second exposure gives the foreground sea wash a sense of motion, grounding the sense of place. This is fall run surf fishing at its finest. If only there was fish on.
Mid-frenzy and flanked by powerful light during Sunday morning’s sunrise shoot I broke rank, disengaged camera from tripod, and went handheld to make some more spontaneous frames of my immediate surroundings. Rich golden light was pouring in from the northeast, and I wanted more than anything to capture the vibrant strength of the sun’s first light. Stronger than usual, just as I was experiencing it.
The signs seen here sit right at my go-to Dock Road photo spot. They always draw my attention—especially the quirky homemade TURTLE X-ING sign. It gets serious points for character, and the turtles need our vigilance! Since I’m almost always at the spot for sunset, the change in light source direction illuminated the signs in a way I just don’t get to see on the regular. Enchanted, I kept creeping closer and closer and closer with my wide angle lens—bringing the scene tighter and tight together.
I’m pleased with this vertical orientation photograph. I’m particularly pleased with the signage pointing off to all the sunrise light drama happening to the northeast (left) side of the photograph.
In Morning — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures
Wake up for sunrise, they said. It’ll be worth it, they said. Who cares if you’re tired? They said. Well score one for the they said internet meme crowd.
I’ve been on a photo making tear these past 24 hours; racking up just over 300 exposures between my iPhone and DSLR. I’ve been shutter pressing, Instagram square formatting, Snapchat story making, Periscope broadcasting content creating machine—a legend in my own mind—or something like that.
Mother Nature brought the goods—a unique northwest facing blue hour last night that I’ll be sure to post in all the usual places over the next few days, as well as some sights from the Seaside Heights boardwalk; finally ending with the sunrise photograph that you see above, taken just after 5:30 this morning. Summer’s in full swing, New Jersey, and I could not be happier.
As far as this shot goes, it just so happened that after returning from Seaside and waking in a friend’s basement at 4:30 a.m. that the perfect confluence of timing brought me to Dock Road and to this sunrise. I’m not a morning person. This is well documented. But as I was driving home during the wee hours of the morning—just as first light was marking the sky in an ominous kind of deep purple—I knew the camera work would be worth my time. Besides, I could always nap it out after. And that’s exactly what I did.
Dock Road was perfect this morning. I spent a good hour roadside taking in the sights, the sounds, and the bugs. But even those blasted no-see-ums couldn’t cramp my style. It was Greg Molyneux’s very own version of Sunrise Earth out there. And while I can’t say when my next sunrise will be, I’m sure glad serendipity worked out in my favor this time around.
Now if you’ll excuse I’m off to spend the rest of the afternoon at the beach.
I’ve taken 6,386 photographs with my DSLR this year—short ~250 that were deleted immediately on account of poor quality—and easily my lowest total since I began shooting January 1, 2012. For some perspective, I took well over 25,000 pictures that first year but don’t let the lower total fool you; I’ve no doubt become more selective in my shooting—ditching spray and pray tactics in favor of a more established process. Thanks to the experience I’ve gained over the past three years, 2014 represents my best year as a photographer. I launched this website in a rare spat of motivation on January 18, 2014, and I’ve processed and posted 136 photographs (and counting at the time of this posting) since. I thought I’d share with you my personal favorites from throughout the year.
Winter has its ways — 14mm | f/8 | ISO 100 | 3 Bracketed Exposures
Winter has its ways | Taken: January 23, 2014 | Location: Antoinetta’s Restaurant, Cedar Run Dock Road, West Creek, NJ
Two things stand out from last winter once dates flipped to the January side of the calendar: 1) Polar Vortex cold, and 2) the great sunsets it wrought. As a sunset landscape photographer early 2014 brought the goods to the New Jersey coast, rendering multiple standout sunsets each week. This reality will be reflected over the next few shots in the series, but this particular photograph stands out for me as my favorite sunset shot I’ve been lucky enough to make—not just this year but ever.
What really makes it a standout for me is the coupling of the frozen bay and the lines it creates with the deep purple and scarlet red sky that I covet so much. The marching clouds moving steadfast out of the southern vanishing point splay out in almost winged fashion as they moves off screen to the top left. There’s just so much sweetness happening right here.
I’ll leave you when the summertime — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures
When rich pastels, a smattering of snow pack, and water still as glass come together you have all the ingredients of a great sunset photo opportunity. All you’ve got to do is compose it, breathe, and fire. With this shot, aside from the great colors, I like the way the pink clouds racing across the horizon to the left are counterbalanced by the angle of the water moving off screen to the bottom right. It brings the right kind of movement and balance to the photograph that makes it a standout for me.
This title is lyrically inspired. Having been one of the coldest winters I can remember I was listening to Led Zeppelin’s “Babe I’m Gonna Leave You” and the line “I’ll leave you when the summertime” just stuck with me.
The path before me — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures
The path before me | Taken: February 7, 2014 | Location: Cedar Run Dock Road, West Creek, NJ
More cold, more great sunsets. Here’s another shot from Dock Road, taken about 1/4 quarter mile west of Winter has its ways above. To make this photograph I set my tripod about 18 inches off the ground, set back about two feet from where that small tidal pool spills out onto the pebbles in the foreground. That opening is only about two feet wide. That’s where the magic of the 14mm wide angle comes into play, making the whole scene larger than life as it pushes everything back toward the vanishing point; in this case driving all eye movement to just right of center along the horizon.
A subtle loss of clarity — 14mm | f/8 | ISO 100 | EXP 1/15
A subtle loss of clarity | Taken: February 18, 2014 | Location: Great Bay Boulevard, Little Egg Harbor, NJ
Hey, alright! The first photograph in the not sunset division. I love black and white. Growing up as a wannabe photorealist pencil drawer I did just about everything in black and white. Resorting to other mediums only as mandated by the art teacher. And while color has grown on me in surprising ways, black and white will always hold a special place.
Specific to this low key black and white landscape I was going for a moody, dead-zone February vibe. Coupled with this lazy shutter trick I sometimes try where at slightly sluggish speeds—1/15 of a second in this case—I pan the camera across the horizon, holding the camera steady turning only at the hips from left to right. Executed correctly—which is equal parts luck, voodoo, and skill—it can create a really cool ethereal effect. With this shot, the soft undulating water ripples move me peacefully through the photo despite its apparent darkness.
Your day breaks — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures
Your day breaks | Taken: February 22, 2014 | Location: 13th Street, Ship Bottom, NJ
I am not a morning person. That means I miss just about all the sunrises. This is probably a fail on my part considering I have the whole of the Atlantic Ocean like 6 miles to my east. Lucky for me on February 22nd I was awake. I can’t remember what made that morning different from any other in terms of waking up early, but hey, it paid off.
When I was composing this shot I wanted to capitalize on two key features: 1) the dune fence arcing from left to right, and 2) the sweeping cloud diving in from the top right corner that eerily reminds me of one enormous looming moon. The curving trajectories of these two features play so nicely together, achieving the balance I seek with my work. Of course this is all enhanced as its backlit by gorgeous sunrise light.
More lyrically inspired titles—the opening line to the Beatles “For No One” seemed perfectly apt.
And hey, let’s here it for February 2014!—this marks four selections for the month, the most of any month in this retrospective.
Barnegat Bay dockside — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures
Here’s my runner up to Winter has its ways as second best sunset photo of the year. I dig everything about this picture. The way the blues and pinks work together; the subtle movement to the colors reflected in the bay; the cotton candy clouds drifting the sky; and the foreground marked by knotty boards and one small stone. It’s a minimal composition that I’m definitely proud of.
It starts with one — 100mm | f/4 | ISO 100 | EXP 1/400
It starts with one | Taken: June 27, 2014 | Location: My house, Manahawkin, NJ
Gear change. Time for a run of flower macros. This is really how I got my start with a camera in 2012. For much of that year I shot macro exclusively, focusing mostly on flowers and bugs. And while I’ve since grown up as a landscape photographer, I still really enjoy making the small world big with macro.
In this shot I’ve pulled a lot of personal favorite styles together. Black and white processing; low key mood; minimalist subject with one yet-to-bloom daisy; and a shallow depth of field. I want the eye to play between the soft grey shadow to the left of the offset daisy bud to the right, highlighted in the glow of an offscreen light source. It’s a simple scene, and that suits my style just fine.
The last of us — 100mm | f/4 | ISO 100 | EXP 1/250
The last of us | Taken: September 5, 2014 | Location: My house, Manahawkin, NJ
Fact: purple coneflower is one of my all time favorite flowers to photograph. Their size, color, and shape make an ideal macro candidate. This little guy is potted in my backyard, and he was still standing tall into September. Knowing its time was coming I went for the camera. I had about 10 more minutes of afternoon light before the sun would slip behind my house, turning off the light source. Shooting handheld I set my focus to just sharpen the petal tips, letting the rest of the flower fall into soft focus and bokeh. The result? One of my favorite flower macros of the year.
I’d love to see you in that dress — 100mm | f/4 | ISO 500 | EXP 1/1000
Here it is, folks. My number one favorite shot of the year. Starting with a single Klondyke Sunny Red in Ben Wurst’s front yard wildflower bed, I made a handheld macro photograph aiming directly at the flower from its waistline if you will. What struck me staring down the barrel of my viewfinder was how much this beautiful flower made my mind’s eye behold a graceful dancer twirling the most beautiful cocktail dress. With consideration toward the wonderful femininity inherent in this photograph, I went with a proper high key black and white treatment to accent the softness and sensuality that is this photograph.
This shot I made is a total departure from my normal photo M.O. That no doubt is what makes it even more special to me, and why it stands atop my 2014 list.
Barnegat Lighthouse, easily the most famous landmark within ~30 miles of my house. I don’t get out there to photograph nearly enough, and this represents one of only three Old Barney shots I’ve posted. Lucky for me the sunset and subsequent blue hour was jamming on September 22nd. I posted up with my tripod out on the jetty rock figuring it would provide my best vantage point and composition for this time of year. Seconds before I periscoped my tripod head northward to make this shot above, I was panned to my left taking this wonderful sunset. The light was crazy, rendering one of the best skies of the year. Some days you just get lucky.
Watch the spray — 14mm | f/8 | ISO 100 | EXP 1/50
Watch the spray | Taken: October 12, 2014 | Location: Surf City, NJ
For me this shot is more about the moment. With the tide out and the dampened sand too soft, using the tripod was not an option. Wherever possible, whenever possible, however possible, my goal is to shoot landscape fixed to a tripod. With the added stillness it assures, and my penchant for bracketing multiple exposures, it’s an absolute must. But sometimes your surroundings are not wont to accommodate. On this October evening I decided to not only go handheld but to get a little reckless (by my OCD camera standards). Here’s an excerpt from the post:
There was a lone piece of jetty rock set about 6 feet away from the main jetty. Between waves I was running up to the rock, dangling my camera about 3 inches from the sand, and trying to time the shutter with water spray firing off said rock. Since I was shooting a mere 15 inches from the jetty rock, the big risk was getting myself and my camera out of there before the spray got to me. All went well, and I got a sweet shot.
On matters of hobbits — 14mm | f/8 | ISO 100 | EXP 1/30
On matters of hobbits | Taken: October 18, 2014 | Location: Batsto Village, Hammonton, NJ
Get thee to Batsto Village in Autumn. Tucked away in Wharton State Forest it’s a wonderful place to visit, capturing an 18th century town frozen in time in the middle of the Pinelands. I was lucky enough to photowalk the grounds with a few friends just as the maples were beginning to fire with all their orange, red, and yellow fury. Juxtaposed with the still green grass washed in late day sun, the place looked great. I made several keepers in just about 90 minutes of shooting, but this one is my personal favorite. It’s fun and it breaks the rules a little bit—with blown out skies, crooked horizon and odd angles. But sometimes breaking the rules is the best course of action in your photo work.
That’s it. We made it. Stepping back through the year was tons of fun—far surpassing expectations. I’m already looking forward to doing it again next year.
And how about a shout-out for the south Jersey? Every photograph here was taken within 25 miles of my house. If you toss the Batsto shot at the end, that drops down to about 12 miles. So many great spots right in my backyard. Be sure to check out my best of work from 2015 and 2016.
Your day breaks — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures
I’m not exactly a morning person so it’s not everyday I buck-up, pop the cot and go shoot a sunrise. But with a fellow photo buddy in town it’s a little easier to find the motivation.
Conditions were pretty excellent this morning, comfortable temperatures with a cool early day glow left me thinking I’m real excited to be here. I spent my initial shooting going for the obligatory up against the shoreline shot. This was decidedly meh. The jetty rock I thought would be there had not so amusingly vanished, and there was nothing passable for an interesting foreground. When my buddy Jon walked over and showed me some shots he was making on his viewfinder, I saw he was making good use of the dune fence as foreground and I decided then I was going to follow his lead.
Enter the shot before you.
The swooping cloud formation, for me, creates a most interesting effect. It has the look of a crescent moon that’s dominating the daybreak sky, pressing its weight and looming ominously. Counterbalanced by the movement and lines of the foreground dune fence it makes for a well balanced scene. Getting up early was worth it.
Related: I spent three great summers (2003–2005) manning the tools of ignorance for Ship Bottom, NJ Public Works. Three great summers of stretching dune fence. Every season we’d be replacing broken fence and even running whole sections of the stuff for blocks. Nothing like spending your days with your buddies, a couple pairs of post hole diggers, and some dune fence. It was simple labor but it always paid off going home each day having made real tangible results toward keeping our beaches clean and beautiful. Plus we got to see the sunrise each day. I miss that job.
I once was a blogger and now I blog again—only this time with photographs.
I’d say for the past month or so I’ve been putting slightly more than a passing thought to having my own website once again. In a past life moonlighting as a web designer, I did a lot of blog and design works with friends. We had a blast. Our digital couch moved from Atlas Editorials to Babeled to Nuclear Fissionary; my friends and I took our passions, opinions, and occasional sarcasm to the blogs. It is now that I take my photographs to this space.
Starting back with my 365 photo project (366 as it was a Leap Year) that began on January 1, 2012, I’ve embarked on a most unexpected journey. A trek that has taken me from beleaguered photographic neophyte, to a serviceable photog with a passion for landscape and macro photography. Of late, wide angle work has really captured my interest and gets the bulk of my attention—this site should somewhat reflect that addiction. But who knows how my photographic interests will evolve from here?
The plan for now is to post various photographs to this site offering insights and explanations into what my mind is seeing. Photography has moved and relaxed me, and I hope you can find a small piece of solace to enjoy while you visit.
