How I Got the Shot: Matt Kloskowski's Fall Sunrise
Kelby Training's Education Director Matt Kloskowski photographed the stunning sunrise in his photo above. Capturing all of the details in one image like this can be a bit tough to do, but it is totally possible through various methods. How do you think Matt shot it? After being captivated by it, we talked to Matt about how he photographed it.
Take a guess, then read on, to see if you got it right.
I used my Nikon D3 body and Nikon 28-300mm f3.5-5.6 for this one. It was mounted on a Gitzo Traveler tripod, with a Really Right Stuff BH-40 ballhead on it (the absolutely best ballheads in the industry, in my opinion). I used a cable release and a Hoodman16 GB memory card, but no filters were used for this photo.
A friend of mine had actually scouted this place. I first envisioned shooting directly at the sun, setting my aperture to f/22 and trying to get that sunstar (the star shaped flare you get when stopped down) in it. But then I realized the image would have been much more contrasty that way, and I liked all of the subtle layers of colors, so I went with this version.
How He Shot It:
There were so many great compositions to be had, that it was hard to pick just one. So I threw on my Nikon 28-300mm lens, which let me have a lot of flexibility. It's probably not the lens most photographers pull out for landscapes, but I find it extremely useful. You can probably look through this photo and see that there are many photos within the photo. Once I shot the wide shot you see here, I was able to zoom in and pick away at some of the details without changing lenses. I find that I use this more and more on my landscape shoots. It's not the fastest focusing lens out there, but for static scenes like this, when focus speed isn't essential, it doesn't matter.
Editor's Update: Here are the settings Matt used to shoot the image-
Shutter Speed: 1/60
Shot in RAW format
The Post Production:
I started this one off in Lightroom 3 (Lightroom 4 wasn't out yet). I tweaked the white balance to make the photo warmer. I adjusted the Exposure and Shadows, since they were a little dark compared to the sky. Then I went into Photoshop to do some cloning and healing, to remove wires and any distractions. Finally, I finished it off with a couple of my personal recipes in Nik Color Efex 4. I have the recipes online, and you can download them here for free, if you'd like.
Mostly, though, the Nik plug-in makes the colors pop a little more, brings out some of the details, and adds a nice vignette—things that I could always do in Photoshop with a bunch of layers, filters, and blend modes, but only take me about 3 seconds to apply in Color Efex Pro.
Disclaimer: The opinions expressed in this piece do not necessarily reflect the views of B&H Photo, Video, Pro Audio