Greg Molyneux Photography

Tag: sunset

Sunset photography

  • Controlled Burn

    Controlled Burn

    NJ Pinelands controlled burn photo of a smoke plume at sunset.
    Controlled Burn — 35mm | f/5.6 | ISO 100 | 7 Bracketed Exposures

    Controlled burning—or prescribed burning, whichever your flavor—has marked the skies of southern Ocean County with plumes of smoke the past few days. Capitalizing on warmth and wind local officials have taken to their annual task of culling New Jersey’s Pinelands of restrictive low-level growth. Fire is the lifeblood of a healthy forest ecosystem, and controlled burning is a responsible method of human stewardship that keeps our beloved pine forest habitat active and healthy. Not only does it aid in the replenishment and overall health of the pines, it also helps mitigate the risk and potential impact of a large out of control fire. It has an added photographic benefit by way of subject matter and color.

    Without wanting to get too close to the action, and without wanting to put myself in the way of hard working fire professionals, I made for Stafford Forge a little before sunset to capture the action from a reasonable distance. It was worth the effort. The sky and smoke was cast in a reddish-pink glow fused with a healthy dose of yellow. Scanning for composition I found a small tree to anchor my image. The real attention, however, goes to the prominent smoke plume pushing its smoke southeastward toward the sea.

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  • Much and More

    Much and More

    Sunset photo of pastel colored clouds over dormant marsh.
    Much and More — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures

    After a week holed up in a downtown Philadelphia hotel it was invigorating to retreat to fresh air and wide open spaces. Backing up a spirited afternoon walk I snagged my gear and made for my usual Cedar Run Dock Road location. There’s something to be said for the familiar, for a mental safe haven that lends a respite by way of the known—not unlike an old shoe. Happenstance had me run into a friend down by the boat ramp. Five minutes of banter ensued cast in mutual appreciation of such a comfortable space. As we said our goodbyes it was time to make some photos.

    Tonight I broke from my standard workflow. Instead of dialing in a single composition and sticking with it as clouds come and go and sunset color falls away, I bounced from vantage point to vantage point. Making brackets as I went from seven different perspectives. The clouds were moving at pace and I hoped to get different looks as they reflected upon the many pools of the marsh’s sprawling tidal plain. Of course, I wound up selecting the photograph that is more marsh than pool, but so it goes sometimes. In today’s composition the balance is strong between the thick marsh grasses in the bottom left of the frame weighed against the thick tuft of cotton candy clouds in the top right of the frame. In the middle of these two elements sits a calm tidal pool at the balance point, completing the harmony. Beyond that, warm pastel colors energized an otherwise dormant scene on the marsh. Even in February signs of life still surge. Can you hear spring knocking?

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  • The Observer

    The Observer

    Sunset photo of rich pastel color over saltmarsh.
    The Observer — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures

    This title and post was made hours before sunset—hours before this photograph was even made. Only I did not know it at the time. Out for a spot of exercise this afternoon between meetings I had finished a light jog and was breaking things down with a cool down walk before getting back to work. With ear buds in and downshifting from jogging to walking I cued up the Introduction to Walking on Headspace. For the past two months I’ve been hitting the app everyday for a daily dose of meditation, and I was curious to hear whatever coaching Andy had when it came to mindful walking. It was much of the usual soft spoken steady support I’ve grown to know, encouraging listeners to bring themselves into the body—to bring their thoughts to the here and now. Comforted I listened. Relaxed I walked.

    As the short session wound down and I approached the end of my walk, Andy hit me with a resonate nugget. In dropping an anecdote about staying present to notice the world around you as you trod upon familiar ground, he noted that when you are present and move through focused on the moment the things around you that you see everyday are never twice the same. Through awareness you can walk down the same street, corridor, alleyway, or field of green, and if your present with yourself the moment will never appear a copy. To the observer each time will prove to be unique.

    As if the clouds suddenly parted a chord of resonance was struck, finely tuned to my experience with sunset photography. The simple truth that even as I revisit the same locations over and over again, the light will be different, the clouds will be different, the color will be different, the season will be different—I will be different. Photography has brought me into the body and into the present, to the one place life happens—free of the past and unburdened by the future.

    In the interest of full disclosure: This is not a paid or obliged endorsement of Headspace. I’m just really impressed by what it’s short meditative exercises have brought me these past few months. Now if you’ll excuse me it’s time for my evening session.

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  • Set Aside Bayside

    Set Aside Bayside

    Bayside sunset photo over sand and jetty rock.
    Set Aside Bayside — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures

    Last light and the tide was with me. Which is to say gentle bay waters were low and slow affording me a dry spot otherwise lost to the migrating sea. More often than not I find myself unable to set up shop on this the starboard side of the jetty without getting myself or some gear wet. Nevertheless I like it here—a spot where I made a favorite black and white years back—so it was great to find it available this evening.

    Ten minutes to sundown and I was admiring the altocumulus clouds filling the sky. Tight reticulated patterns draped across the deck moving in slowly from the west. Like a cosmic fabric wearing checkerboard markings I was lost in its mesmerizing array. The only question on my mind was would there be enough space in the clouds to allow the sunset color to pass through? It only took a few minutes to find solace as the cloud deck began to heat up in a smoldering red glow. Contented I made my shutters and took in the rest of the show undistracted.

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  • Happy Little Trees

    Happy Little Trees

    Sunset photo of deep colors, pine trees, grasses, and pond.
    Happy Little Trees — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures

    Here’s a taste of last night’s sunset sauce. Man, it’s been a minute since I’ve photographed from Stafford Forge. Most of this has to do with my new car and the subsequent obsessive compulsive disorder that comes with it. Can’t be having dings, dents, and scratches says my anxious mind. And since the Forge requires some non-asphalt treading I’ve given in to fear and stayed clear. Last night—after a six month self-imposed exile—I returned to a fine stretch of land that’s made for some solid photos in the past. The timing is right, too, as the sun angle from this locale is best served in the winter months when the sun orients itself at its most southwest position.

    While last nigh’t sunset doesn’t slot into that ZOMG level it was still pleasant to take in. Winter color is not to be trifled with. When you combine a cold air mass with some mid and high level clouds you’ve got a recipe for intense coloration. The saturation of red and orange burned vividly even as it was cast upon rapidly dissipating cloud cover. Had we had a higher deck of cirrus clouds I think the ever elusive purple tones may have come to bare. (Purple is my favorite color of the sunset rainbow, by the way. I wonder if purple having the shortest wavelength affects why it renders itself less frequently than the other colors?) Nevertheless it was great to be back out in nature tucked behind these three happy little trees. They were kind enough to let me join in on their power trio while offering their services as a suitable foreground prop. Cheers, fellas.

    Coming up in the not too distant future? My annual best of retrospective. It’ll be up on December 24, 2016, so I best get cracking on my top 12. With any luck I can squeeze out one more quality shot before the post goes up.

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  • Headlong to the Horizon

    Headlong to the Horizon

    Vertical orientation HDR sunset photo over winter marsh.
    Headlong to the Horizon — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures

    A few thoughts as we get cracking on this here post: Hot damn it was cold today. Snow may still be a twinkle in my eye but the first real shot of Canadian air is hardly a figment of my imagination. As my body struggles to adjust to colder climes I warm myself if only mentally by anticipating the great winter sunsets to come; can’t beat winter color, you guys.

    Also on the list of brain happenings while shooting—I’m pretty pleased with this vertically oriented photograph. I’ve talked about it many times before, and while it still rings true, these essential landscape photographer compositions do not come as easy to me. But I like today’s results.

    Next item up dealt with some pondering on whether or not I should open up comments on this here website again. I disabled them at least a year or so ago on account that there really weren’t any. Not unless you’re counting spam, of course. Perhaps it’s worth giving it another go? Of course it’s not like I’m in a position to solicit feedback from anyone regarding this decision considering comments are disabled, so, uh, yeah… Send a carrier pigeon or something.

    Lastly my thoughts are turning toward a coffee table book. Over the years several people have independently encouraged me to go down this route—especially over the past 12 months. The first dozen or so times I disregarded the idea in its entirety for a host of reasons. 1) Who would want it? 2) It’s a lot of work. 3) What if it sucks? 4) Who can I find to edit and reign in my babbling? 5) Who’s going to print it? 6) Related: what does the supply chain look like? 7) Seriously, who would want this? But after two years of full stop dismissal I am beginning to think it may be worth legitimate consideration. So now I am going to start chipping away at this seven points to see if this is a project worth pursuing. I’ve got all these photographs and all these words about them maybe it’s worth brining them to people’s homes. I’d say leave a comment and let me know how you feel, but yeah…

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  • Momentary Lapse

    Momentary Lapse

    Sunset photo of a rising supermoon over gentle waves of Barnegat Bay.
    Momentary Lapse — 35mm | f/1.4 | ISO 100 | EXP 1/1600

    Two moon shots in a row? If you’ve been following my work for any length of time you know moon/night photography isn’t an all too common occurrence in this house. It’s not that I don’t love me some moon, it’s just that I lack the requisite gear to make some hay in this department. Long lenses—telephotos—are not (in) my bag, baby. Yet here I am backing up Saturday’s lunar landscape with another moon sunset from Sunday; and as I am sure you’ve heard ad nauseum it was the start of supermoon central on the internets. For the next 24 hours Facebook and Instagram were inundated with giant orbs from our number one satellite. It was a lot like Majora’s Mask only less cool and with a worse soundtrack. Never one to want to miss out on the party I present you my contribution: photographed at 35mm overlooking Barnegat Bay from Barnegat Bay Beach in Barnegat, New Jersey. (Say Barnegat again, Greg. Please.)

    Now if you’ll allow me to enter critique mode. Photographing handheld from the bay beach my intention was the get a front focus shot of some lime green mossy stuff strewn about the shoreline. I was shooting wide open at f/1.4 going for shallow depth of field where the middle ground and back ground faded away into smooth bokeh. Most of my shots Sunday were made with this in mind. However, I did pop off a few off frames where I focused out to infinity to bring clarity to the middle ground and back ground. Instead of stopping down to f/5.6 which increases overall sharpness while simultaneously pulling the acceptable range of focus closer to the viewer, I stayed wide open with the aperture. This is why the foreground is somewhat out of focus here. None of this is wrong, of course, and frankly the movement from out of focus and into focus creates a different kind of mood with the photograph. I am just conceding that if I went into this shoot with the goal of producing a sharp landscape, I absolutely would have used my tripod and stopped down to f/5.6 or f/8 instead of going with wide open handheld action.

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  • Placebo

    Placebo

    Sunset photo of a reflective moonrise over marsh amid pastel clouds.
    Placebo — 35mm | f/5.6 | ISO 100 | 7 Bracketed Exposures

    Gazing east from Cedar Run Dock Road during last night’s sunset while simultaneously treated to a 96% waxing gibbous moonrise was exactly what the doctor ordered. To far away Tranquility Base, detached from the present day reality of this earthly world, I salute you. Prior to yesterday’s sexy sky business, landscape photography wasn’t even on my radar. Conditions were crisp and cool all day with nary a cloud in the sky. Besides that I was tasked with making some afternoon family photographs—gasp!—of my friend and her parents. (Two super cute doggies in tow.) Despite my total lack of experience the shoot went well enough—I hope. Being out there, exposed outside of my comfort zone yet surviving, had an added benefit: the development of high level cirrus clouds building toward the east. The rusted gears of my mind began to turn and clank.

    Leaving the shoot and driving over the LBI causeway bridge back toward the mainland I was hemming and hawing on whether to shoot and where to go. To the west the sky was mostly clear so a traditional sunset seemed out. To the east the clouds kept calling. Further down Route 72 West the exit to Route 9 South approached—reflexively right blinker went click, click, click—I suppose Dock Road it is. Driving down the isthmus and out onto the marsh an unexpected wrinkle was thrown into the fold; a big fat mostly full moon was a few inches over the eastern horizon and the plot began to thicken. Even though prime pastel cloud color was good 20 minutes away, it was a lock that the moon would sit large and in charge amid a cotton candy sky. As an added bonus the wind had died and the water was calm and reflective. For a chilly evening in November everything came up Greg with a sugar pill dose of much needed calm and pleasure.

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  • Goodbye Sun

    Goodbye Sun

    Motion blur sunset photo of pastel clouds and calm bay water.
    Goodbye Sun — 14mm | f/8 | ISO 100 | EXP 1/15

    Welcome back to Standard Time!—ugh. If you’ll allow me this moment for an airing of grievances. No fan am I of the cyclical cessation of Daylight Savings Time. Being a veteran on team Not A Morning Person I need to milk as much evening daylight as possible. Were it up to me we’d bask in perpetual latter day light on the forever Daylight Savings side of things—no more of the falling back/springing forward nonsense. I’ll concede the one day we get an extra hour of sleep is nice and all, but really it’s just a cheap marketing gimmick to help us try to feel better about ourselves; and let’s keep it real, when it’s ripped away from us each spring keyboard warriors take to Facebook and decry the personal affront felt by all. And while I’m sure many of you may find appeal in a world of no more time shifts I suspect you may find your allegiances hitched up to the Standard Time bandwagon. That’s OK but I’d like to ask just one thing: is the thought of 4:00 a.m. sunrises in summer really that appealing? No thank you, I will take my 8:00 p.m. summer sunsets year in and year out.

    Quick photo talk time. I hit up Dock Road yesterday afternoon around 5:30—see the sun already sets early enough as it is!—and while it’s no doubt my go-to spot I wound up shooting from a vantage point I’ve yet to use in my half decade of photographing. Down at the far southeast end I posted up at the bulkhead of Stafford Municipal Boat Ramp and shot out over the bay with a southeast orientation. The light was great, and the clouds milling about the horizon were pretty great, too. Ditching the tripod and my usual bracketing I went handheld and executed my little motion blur technique—the one where I intentionally create a blurry, out of focus look on the exposure. Adding a bit of motion that brings a more painterly feel; it pairs nicely here with the otherwise minimalist look of the frame. That’s it for me, enjoy your next few months of 5:00 p.m. darkness.

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