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The sun highlights low clouds on the horizon during a spectacular sunrise over the ocean near Freycenet in Tasmania, Australia. As an added bonus I also captured a pair of sunspots in the image.

烈火(火)

¥31,500 JPY
599
599
149
149
39
39

澳洲塔斯馬尼亞州菲斯內特附近海洋上空壯觀的日出,太陽照亮了地平線上的低雲。作為額外的獎勵,我還在圖像中捕捉到了一對太陽黑子。

角落特徵壁畫
Dimensions
  • Story
  • Planning
  • Technical

How this shot came about.

幾年前,在我上次訪問塔斯馬尼亞時,我捕捉到了 《菲斯奈黎明》 我喜歡這個鏡頭的瞬間性質。

在 2023 年塔斯馬尼亞之旅中,我想回到圖爾維爾角燈塔,看看是否還有機會在不同條件下拍攝酒杯灣的影像。我確實重訪了燈塔 “阿卡莎(以太)” 這是黎明前幾分鐘拍攝的最終照片。

在我拍攝了阿卡莎(Aether)之後,我轉向東方,迎接我的是最令人驚嘆的日出。現在,我通常不會沉迷於日出,因為我發現日出鏡頭有點陳腐和過頭,但我無法控制自己拍攝這張照片。

當太陽從那片有趣的雲層後面經過時,高高的捲雲捕捉到了光線,地平線上厚厚的空氣產生強烈的折射,我被賣掉了!作為一個額外的好處,太陽的圓盤呈現出 2 個輪廓清晰的太陽黑子,並且海浪的頂部捕捉到了傾斜的光線。

Shot Location

The Shot

這個鏡頭是一個客串鏡頭,是捕捉另一個鏡頭的更廣泛嘗試的一部分(參見 菲斯奈黎明)清晨酒杯灣的拍攝。那次嘗試變成了 阿卡莎(以太) 但這個日出值得自己拍攝,並成為「Agni(火)」。

前兩天我斷斷續續檢查過 無雲之夜 確定黎明前約 4 小時至黎明後約 2 小時期間圖爾維爾角周圍所有高雲、中雲和低雲的數量和移動方向。對於像這樣的鏡頭來說,它非常依賴照明,如果地平線上有一大片雲層擋住了太陽,那麼在黑暗中等待拍攝的努力就沒有意義了。

當然,在完成所有計劃之後,無論如何我都必須重新考慮當天的拍攝。雲朵都如預期的那樣給我帶來了這個可愛的日出,但酒杯灣的鏡頭(至少正如我所設想的那樣)永遠不會起作用,因為海霧堅持模糊了海角的細節。
 

The Photographer's Ephemeris showing the shot location

The Photographer’s Ephemeris is a trademark of Crookneck Consulting LLC, registered in the United States.
Please visit their website at https://photoephemeris.com for more details
All other trademarks and logos remain the property of their respective owners

Gear

Camera: Canon EOS R5

Lens: Canon RF 70-200mm f2.8 L IS USM

Storage: ProGrade Cobalt CF Express B 325Gb

Ballhead: Really Right Stuff BH-40

Tripod: Really Right Stuff TFC-34L Mk2

Cable Release: Canon BR-E1 Bluetooth Remote

ND Filter: 沒有任何

Exposures

Count: 7

HDR Count: 7 exposures per shot

Aperture: f10

ISO: 125

Focal Length: 200 公釐

EV values: -3, -2, -1, 0, 1, 2, 3

Shutter: 1/4000, 1/1000, 1/2000, 1/500, 1/250, 1/125, 1/60

Filters

ND Filter: 不曾用過

Gradient Filter: false

Polarizer: false

Image

Rows: 1

Shots: 0

HDR Shots: 1

Aspect: Portrait

Arrangement: 1x1

Post Production

基本工作流程

  • 我用了 燈室 將 7 個 HDR 曝光拼接到一張影像中。
  • 快速移動的太陽造成了相當多的重影,因此「消重影」設定為最大
  • 我透過圖像 Topaz DeNoiseAI 
    • 從影像中移除 CCD 偽影
    • 特別是在太陽位置上方的高雲層中

影像調整

  • 一旦我對結果感到滿意,就會有非常輕的通過 黃玉銳化AI
  • 原來的格式在天空中非常“過重”,所以我改用了方形格式
  • 以這種縱橫比進行裁剪是為了將太陽的中心放置在較低的“三分之一”上,從而獲得令人愉悅的結果

A graphic of the shot's layout structure

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FREQUENTLY ASKED QUESTIONS

How is my image shipped to me?

After printing each image is trimmed to include mounting margins for your framer.

It is then rolled in protective sheets and placed in an appropriately sized mailing carton.

We use 150mmx150mm (6"x6") mailing cartons to avoid excessive bending of the high quality paper we use for printing.

Depending on your selection the carton is sent via mail or courier to your nominated address

What paper is my image printed on?

We use very high quality papers from Hahnemuhle.


We usually print on Ultra Smooth Cotton Rag at 308 gsm.

How is my image authenticated?

Each print is personally named, numbered and signed by me.


Additionally I also emboss the margin of the print with our logo.


Finally each print comes with a certificate of authentication which includes an encrypted QR code containing a unique print identifier and the known provenance of the print.

Are the images on the website copyrighted?

All images on the Amuigh Faoin Speir website are copyright the author. A great deal of time and effort goes into the acquisition and production of each image and unauthorized use of any of the images is prohibited.


All images have been invisibly watermarked and their unauthorized use anywhere on the web is continuously monitored.


Should an unauthorized use of any image be discovered the user of that image is liable for post-use licensing fees as laid out in the Terms of Service, Section 13 - Unauthorized Usage of Images

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What's the best way to light my image?

Why does the price of each image vary over time?

Each of the images comes in three sizes, Feature, Mural and Nook.

For each image each size has a restricted and predetermined run size.

We guarantee that this run size will never be exceeded, ever.

This means that there is a natural scarcity for each image/size combination and as prints are sold that scarcity increases with a corresponding increase in the price for the next print.

This approach provides an opportunity for early purchasers to acquire an appreciating asset the market value for which increases with each subsequent purchase of that image/size combination

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