Out here in the high ridges of the borderlands of Montana / Wyoming there are millions of acres of grasslands. This was a wonderful veiled sky with a diffuse sun and a dense cloud deck above. The combination of the two required a foreground for the image to suit me. Close / Far perspective…
To use a stand of grass to grace a veiled sunset is not a new effort but is always a worthy target. Grass contains such an elegant form. Testures and lines abound. Over the years I have found that “you are where you are during the final minutes of sunset”. My mind wanders to the “filter materials at hand” for this kind of Close / Far perspective. When your in the middle of a square mile of pasture land, you have to act fact with a wonderful sky as behind this shoot and use a seed head.
I am generally soured on using glass filters in front of my cameras while shooting into the sun. I WAY prefer to use “cellulose” filters to reduce the glare from the furnace above. Here I’m letting this stand of grass moderate the amounts of light coming into the camera. Even a few percent help. Any photo is a light balancing act inside the camera. You only have just three settings to play with . I suggest to you that it would be good to learn to use that camera on Manual Mode finally. (If you don’t already know how). I am happy to keep talking about HOW I take my photos for you guys to follow along. Ask if you have a question. 🤔📷
This is a capture initiated by the -2 degree evening, the icy air and the lighting. The later of which was JUST settling down over the ridge with less than a minute left in the day.
Topographically, I’m working just over the lip of that higher ridge. Opportunities like this after photographing that sun coming up over a ridge 1 mile out are important parts of the timeline. I move quickly to transition to working a closer ridge several hundred yards out as the sun climbs. A sunset for me is a period of moving from place to place to take advantage of the terrain. It is very important to know WHERE to and WHEN to move to the next shot. Extending your time working the “Golden Hour” is the result. You only have so much time to “Work the Light”.
I work “Parallel” ridges because I’m very mobile to look for interesting leading lines and angles into the light. Here I saw this long line of smaller pines covered in ice from freezing fog the night before. (the night I’m typing this the same weather is occurring and I’ll be up on the ridges for sure ). There was an 1/8th inch of ice on everything that was exposed to the wind. So a vibrant landscape with an interesting weather event… (a hero as every photo needs a hero). But working that shadow line is the game.
The glare from the sun is quite a hard thing to deal with. I am literally looking into the sun with this camera with a white ground reflecting light plus the ice. The trees are my cellulose filter in front of my lens. Regardless, I had to turn my camera to HIGH F-stop, LOW ISO and your shutter speed is used to balance the equation. If you don’t want a sun star, go f-11 mid range. You adjust either with a neutral density filter in front of your lens (I hate them), or higher shutter speeds. Many consumer cameras don’t have 1/8000th shutter like the higher end models do to compensate . So faster shutter speed to reduce light into the camera may not be as much of an option depending on your equipment. Be careful pointing your camera into the sun.