Greg Molyneux Photography

Tag: sunset

Sunset photography

  • Our Light Fades

    Our Light Fades

    35mm photo capturing a golden sunset lighting the calm water of Little Egg Harbor to mark 2019 winter solstice.
    Our Light Fades — 35mm | f/8 | ISO 100 | EXP 1/100

    It’s been a week. Life is a series of give and take, and right now it is hellbent on dealing blows and stripping away happiness. It is a dark time. In light of my struggles I wish you well in your escape from the shadows.

    Light kneeling before dark, while cold and uncertain, is the appropriate segue today, December, 21, 2019. Yes, it is to the winter solstice I refer. Documented above, photographed in 35mm, we meet with its final light of day. Captured at 4:35 p.m., at the Cedar Run Dock Road boat ramp staring west across Little Egg Harbor, the sun embarks on its longest journey through darkness. Long will it labor until its shadowed path brings us first light. A rebirth to our celestial cycle will illuminate dreams cast upon a distant horizon.

    This photograph was simple in its execution. Shot handheld at a focal length of 35mm. This casual approach fit well with the stillness of the bay water. Calm and sublime. It was only my second frame of my total shoot—I made many more exposures at 14mm—yet its minimalism and stillness speaks to me. Wanting to key in on forms and color, I substantially reduced clarity and texture in post processing. This introduces softness and comfort to the scene. I suspect this is my own feelings crying out for softness and comfort. As it is life informs art as art informs life.

    Enjoy the solstice, and happy holidays everyone.

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  • Wait for It

    Wait for It

    14mm wide angle sunset photo of pastel colored clouds reflected over Cedar Run Dock Road salt marsh at sundown.
    Wait for It — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures

    Yesterday afternoon was a treat. A late stage pulsing sunset served a tonic for the soul. An overcast deck held sway even as the sun dropped below the horizon leaving grays and blues dominating. Yet I waited. There was enough breaks to the cloud and enough experience chasing sunsets to know I ought lend time to the sky. Five minutes passed and sure enough a touch of pink begin building to my south-southwest. Over the next five minutes a panoply of pastel color flourished. The game was afoot.

    Unfortunately, a fellow sunset reveler about a quarter mile away threw in the towel too early. They packed up early and missed the show, reminding me too often people bail on the sunset too soon. So one quick tip I’m more than happy to share: Wait at least 10 minutes after the sunsets before punching out. (20 minutes if you have time to spare.) This simple change will take your sunset photo making to the next level. Far more often the best color comes 5-10 minutes after sundown. Remember this and please apply accordingly. Now get out there and wait for it.

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  • Short Days

    Short Days

    14mm wide angle sunset photo made of pink pastel clouds over brown wind swept salt marsh grasses and rippling water features.
    Short Days — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures

    The sun sets early this time of year. Snuffing out daylight early and often. Long nights leave us vexed, corrupting our internal sense of time. How is it only 6:00 p.m.? It feels more like midnight. Premature exhaustion settles in by 8:00 p.m. and the call to hibernate is real. So is the struggle. When midnight hits so does the second wind and the time destroying whims of winter come full circle. Morning alarm goes off and we rejoin the dark waltz again.

    Yet winter and its stunted days are not without benefit. Here’s a quick hit list of its boon:

    • Holidays! Halloween through New Year’s marks a run of festivities to cover all manner of secular and religious celebration. Hell, we’re even afforded our chance at the annual airing of grievances.
    • Time off! Dating back to our childhood we associate this season with winter break and snow days. Even into adulthood we appreciate the breaks we earn.
    • Snow! Many hate it, I love it. For my money it’s the only weather that makes living in cold climes worthwhile. Let’s all agree to slow down a bit more and stay safe when we have to drive upon it.
    • Video games! In honor of capitalism, entertainment companies drop all manner of first rate AAA titles upon button starved consumers. This pairs nicely with long nights and time off. As a lifelong Nintendo fanboy there’s nothing like questing through Hyrule on a long cold night.
    • Movies! Whether it was the early 2000s dropping The Lord of the Rings in three successive Decembers or the Star Wars drops of the late 2010s, winter blockbusters are a cozy way to spend an evening.
    • Sunsets! Sure they happen early, but nothing compares to cold fuel winter sunsets. It’s when the vivid pastels paint the sky, and the ever elusive purple comes to play.
    • Fresh starts! New Year’s gives us a chance to begin again. Wipe the slate clean and make new things happen.

    What are some ways you make the most of long nights delivered at the hands of short days?

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  • Bank Shot

    Bank Shot

    14mm wide angle sunset photo with pastel clouds reflecting in an oxbow lake in the Cedar Run Dock Road salt marsh.
    Bank Shot — 14mm | f/8 | ISO 100 | EXP 0.3 sec

    I am overfond of this oxbow feature of Cedar Run. It is a peaceful turn in the gentle meandering of a low key run of brackish water in the Cedar Run Dock Road marsh. It sets behind my usual sunset orientation from my most used spot to make photographs. Under a sky spanning sunset, even this northwest orientation colors up full and sets the oxbow aglow.

    So it was on November 15. Minutes before I captured this smoldering sky fire to the west, I set tripod and lens about a pastel swoon. Pinks and yellows casting a near transparent gossamer glow upon the sky and the land. It is a boon from beyond when your surroundings offer up the chance to make multiple photographs, in multiple directions, with manifold compositions. It is an embarrassment of riches, and it makes for A Good Day. In this photography is like fishing: Skill, preparation, experience all count, yet it is right place, right time which matters most.

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  • Red Sky Alight

    Red Sky Alight

    14mm photo of a burning red sunset smoldering over the winter salt marsh with sky reflections in the water.
    Red Sky Alight — 14mm | f/8 | ISO 100 | EXP 1/8

    Big week in the 609 for sunset. With no fewer than three Good Ones™, Instagram, Facebook, and Twitter have burned with content. Sky fires everywhere Buzz and Woody meme dot gif. Of course I missed out on the first two setting my insides aflame searing FOMO blisters with impunity. Life is hardly a burner when you’re but a passive observer.

    Yet Friday was my day, except it almost wasn’t. All day skies were light overcast, which suggested an it can go either way outcome. SunsetWX, after a red hot week, was lukewarm over New Jersey fueling the wavering. I continued to work. I continued to monitor.

    Four o’clock came and so too decision time. Clouds had thickened and the 4:41 scheduled sunset seemed lost. Well, 4:30 hot power vinyasa it is. It was 4:15 and I was driving to yoga class. Still it gnawed at me this choice was the wrong one. 4:25 and I am exiting onto Route 9 north. I descry the slightest break in the clouds a razor’s edge above the westward horizon. 4:27 at the traffic light I sit—30 seconds from yoga, six minutes from home, and 14 minutes from sunset.

    I drive toward home to change into warmer clothes and grab my tripod and camera. 4:35 I am back on the road. 4:41 is nigh and I am 12 minutes from my Dock Road spot. A little math and we sit with a 4:47 ETA for a 4:41 sunset. It was a this point I knew I made a mistake. I even tweeted as much. The clouds seemed thicker than ever and hot power vinyasa already flowing. I would lose out on sunset and exercise. On I drove to Cedar Run Dock Road catching 5 red lights along the way—also known as every single one.

    4:43 I turn onto Dock Road heading southeast. In my rear view I notice some light red and pinks beginning to spread along the westward horizon. As I continue to drive it continues to grow. By the time I hit my spot at 4:47 near on half the sky was on fire. The game was afoot. I had chosen poorly in thinking I had chosen poorly.

    90% of photography is being there, and this timeline of unextraordinary events encapsulates said maxim well. Nature’s brush was putting in all kinds of work, as it has all week, and I had but to stand there pressing button. A photographers’ work made easy with a red sky alight.

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  • Marsh Brush

    Marsh Brush

    35mm sunset photo over the salt marsh using motion blur to render a brush stroke effect on the marsh and clouds.
    Marsh Brush— 35mm | f/8 | ISO 100 | EXP 1/13

    Take camera and lens. Set yourself a suitable focal length. (35mm demonstrated here.) Stand astride the salt marsh feet shoulder width apart. Pretend you’re the Colossus of Rhodes. Wait for sunset. As you depress the shutter, pan side-to-side in a smooth, steady motion—left to right is my go-to; sluggish shutter speeds work best. (I’m rolling with a lolling 1/13 of a second on my shutter in the photo above.)

    Follow the steps outlined above and a blurred photo will zero and one its way onto your memory card. And if you’re somehow still reading you may be wondering why written steps to produce an out of focus photo is a thing—let alone a purposeful one. Enter the subjectivity of the three letter word that starts with A—art. I may be an n of one but I do love me some motion blur by design in photographs. If you have been following this blog over the years you may now recall seeing a few photographs cut from this cloth.

    So what’s the rub? For me it is simple: executing intentional motion blur gets the viewer to the heart of an image. It cuts away the sharp focus, high resolution detail that can clutter and shroud the soul of a photograph. With forced motion blur we deconstruct down to basic movement, color, tone, and form. This allows the image to land on each viewer on a conscious level. Expectation breaks down and the photograph can exist as it is with no preconceived notions.

    Of course even with sharp focus tabled for another day we still know exactly what we are viewing. The elements of the photo are clearly discerned as we look upon a salt marsh at sunset with clouds, tide pools, and grasses. Who needs sharp focus when a little bit of motion helps us see clear?

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  • Relic

    Relic

    14mm wide angle photo of weathered wood set upon muddy salt marsh at sunset. An out of focus telephone pole appears as a cross in the background.
    Relic — 14mm | f/2.8 | ISO 800 | EXP 1/40

    Great Bay Boulevard has sat out of the rotation for far too long. This photograph, made in late September, was my first shot made at Seven Bridges Road (GBB’s other name) since February. Great Bay Boulevard is like Cedar Run Dock Road with a multiplier. It is southern New Jersey marsh life writ large. The marsh extends for miles in all directions, at times leaving the observer with a solemn feeling of stark isolation. The road doglegs to the southwest running out the miles over several small wooden bridges. Alternating one way traffic is the order of the day in spots, minded by lonesome traffic light sentinels, adding to the area’s sense of place. It is splendid.

    Specific to the photograph above I went about my business a bit different than usual. Using my 14mm wide angle lens I executed a shallow depth of field exposure, sitting wide open at f/2.8. This is a tactic I typically reserve for my 35mm and 100mm lenses. With wide angle work I lock into hyperfocal distance to capture sharpness throughout the entire depth of the image. This is born out in the hundreds of the wide angle sunset photographs I have published.

    The remnant piece of wood, worn and eroded, marking the foreground, caught my eye. Its coloration, weathering, and grain draws the eye, and with some decent sunset light I wanted to make it the focus of the photograph. So with an open aperture I got down low, keeping the camera no higher than three inches of the ground, and worked some frames. Originally I deployed a western exposure, straight out into the sunset. Then I spied the telephone pole off to the south set over my left shoulder. I split the difference with a south-western exposure brining the pole into the frame. The shallow depth of field and off focus casting the pole in diffuse symbolism.

    Photographs capture scenes to convey narrative in a visual medium. The story can be simple and straightforward, or it can mask in layers to tell multifaceted stories. It allows the viewer to imprint their own stories shaded by beliefs and experiences to connect in a personal way. This is the beauty of photographic storytelling.

    Here the telephone pole will appear to some as a cross looking down upon a weathered wooden relic. An aged grained wood with a prominent knotted eye looking deep into the viewer under the auspices of Golgotha. There will be an obvious religious connection for many while others will absorb this motif in a different way. Both are correct and neither wrong. Here is the magic of imagery.

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  • Slow Way Round

    Slow Way Round

    14mm wide angle sunset photo facing east over the salt marsh under pastel colored cotton candy clouds.
    Slow Way Round — 14mm | f/8 | ISO 100 | EXP 0.3 sec

    The pastel sunset theme carries on. Fitting I wrap September 2019’s photo bracket with one last cotton candy salt marsh burner. Here we are looking east over Cedar Run Dock Road marsh at sunset. Painted skies marked in all directions, coloring up in dashing pink tones any cloud floating about a fading blue sky. Not much to do except drift off and absorb the glow. Body, mind, and soul all lifted into righteous accord in the halls of nature.

    Musings:

    • From the video game font: Currently playing Link’s Awakening for Nintendo Switch. Outstanding. Never having played the original Game Boy nor its DX color version, this is a brand new Legend of Zelda experience for me. This coming on the heels of Hollow Knight, which was astounding. (Played on PS4.) Next up I plan to tackle Ori and the Blind Forest on Switch. Fun times.
    • Had my first real virtual reality headset test run this week. Spent about an arrow with Oculus. Something as simple as tossing paper airplanes in the opening tutorial was astounding. This was the most profound tech experience I have experienced in decades. Hard to imagine virtual reality becoming anything other than a dominating force in our daily lives. But at what cost to the human experience?
    • 2019 MLB Playoff baseball is here. The Yankees kick of the ALDS against the Twins on Friday, and I am pumped. Apologies in advance to my twitter feed. U feel good about this season though I have a gnawing worry about regression. The Yanks have handled their business against the Twins for the better part of two decades. If you believe in due, at some point the worm will turn. #YankeesOnly
    • Speaking of due: I want big snows at the New Jersey coast this year. Several blasts. I willing own this unpopular opinion. I’ll try to make good photographs at least.
    • A few days past I wrapped up 1984, and I am currently in the early stages of Catch-22. The former was a gut punch and so far the latter is cynicism dredged in sarcasm fried in satire and seasoned with irony at medium to high heat. I reckon this is Heller’s intention.

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  • Late September

    Late September

    14mm wide angle sunset photo of a salt marsh with cotton candy pastel clouds, deep blue sky, and rich sunset colors.
    Late September — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures

    Had you set about the salt marsh to draw up a sunset on a late September evening in the mid-Atlantic it ought look like this. Bronzed rust tones overtaking once green grasses in a slow, albeit determined race toward inevitability. Above you rainbow pastels are strewn and pulled into a never repeating gossamer stretched about the sky. All backlit by a rich clear blue heralding the return of stiff northern winds. Cold weather is coming, best to enjoy these last few weeks of comfortable temperatures before the drive toward darkness sets in anchored with the bitter bite of cold.

    As I was on Cedar Run Dock Road’s salt marsh last night making photographs some thoughts came to mind:

    • September is a solid month for sunsets. I hypothesize it has a higher degree of quality sunsets than most other months—the summer months at least. I have yet to verify with my own archives, but it feels this way. They all have this kind of color scheme and pastel cloud combination as photographed here. Of course, recency bias may be undermining better judgement since we are coming off about a week or so of this kind of sunset. If i am right, I wonder what drives this trend? Seasonal change? Angle and position of the sun? Something else entirely?
    • Despite temperatures a shade below room temperature while I was shooting, I could feel the wind driving colder air and drying out my face. A reminder winter approaches.
    • Seeing the marsh transition to brown always is bitter sweet. On the one hand the lush days of a vibrant green landscape are over, while on the other hand, the promise of superlative winter sunsets with a peculiar color palette draws near.
    • I was able to capture quality photographs three out of the last seven days. It has been a long while since I had a run like this. (See also recency bias in bullet one.)
    • I miss editing photos on a spacious 27″ iMac. Major first world problem, I know, but I do miss it. The added real estate brought me so much closer to my own work. Working on a laptop these past few years has left me feeling somehow disconnected to my art. A good craftsman ought not blame his tools but is it so wrong to miss them?

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