5 TIPS FOR PHOTOGRAPHING THE GOLDEN GATE BRIDGE

The Golden Gate Bridge a half hour prior to sunrise. 30 sec. @ f8, ISO 200.

Before I get to my five tips, I will state right up front that much like my blog post,  Five Tips for Shooting Antelope Canyon, this was my first time photographing the Golden Gate Bridge. I say that only to admit that I'm not the expert and in fact, welcome comments, additional tips or even to tell me I'm wrong.

However, as a professional photographer, you might find it interesting how I approach a subject that I never photographed and only have a limited time to do so. In this case, I was in San Francisco for three days, but all of that time was not dedicated to taking pictures of possibly the most photographed bridge in the world. Also of note, all of the photos were taken with a Fujifilm X-T1 mirrorless camera that I had for review.

Consider a rental car or Zip car so you can get to locations away from the crowds, like this photograph of the bridge taken from Point Bonita Lighthouse just before sunset. 1/18 @ f22, ISO 200.

Also, while it is possible to get to the Golden Gate Bridge via public transportation, tour bus or even by bike, renting a car seems to be the easiest and most convenient way to get to many of the shooting locations, especially if you have limited time or want the ultimate flexibility to chase light.

1. Location, location, location.

There are numerous locations or vantage points to photograph the bridge and I'll cover just a few even though I'm sure locals have all kinds of hidden spots picked out.

I shot from three basic locations on the North side and two on the South or San Francisco side of the bridge. On the North, it was Vista Point, Battery Spencer, Marin Headlands (Hawk Hill) and on the South, Lands End, and the South Side parking lot.

Vista Point is the first exit after crossing the bridge heading north and while it offers an alright view of the bridge, my suggestion would be to skip the crowded parking lot and head down the hill towards the Coast Guard Station where you can view the bridge from a low angle. Then walk up to the Vista Point visitors center for an additional view.

A different look at the bridge from Battery Spencer. 1/1700 @ f3.2, ISO 400.

After leaving Vista Point cross under the bridge and start the climb up Conzelman Rd. making Battery Spencer your first stop. This is a great location and it was the first place that I stopped to photograph the bridge. I was surprised how close the bridge was and you feel like you are at eye level with the bridge towers. Nice vantage point to shoot verticals too.

After leaving Battery Spencer, you continue to climb until you reach the highest point, Hawk Hill. From this vantage point, you get a great overview of the bridge with the city behind it. Don't forget to explore the old World War II batteries while you are there and if you continue on foot through former gun emplacement tunnels to the other side, you will have a bonus view of the Point Bonita Lighthouse.

There are several stopping points along the way so take your time and pull over every chance you get either on the way up or on the return trip, because the view is different and unique each time.

Screen shot from my iPad of the SunSeeker App showing my location and sun direction on the morning of March 17, 2015, as I was attempting to photograph the sunrise. One of the nice things about this App is that you can pick a day and time in the future so that there are no surprises, except for maybe rain and fog.

2. Timing is everything.

Make sure to leave yourself enough time and shooting days to capture the bridge during different times of the day. If you are planning to shoot sunrise or pre-sunrise from Hawk Hill, Conzelman Rd. is closed about a half mile from the top until after sunrise. There is a parking lot, so join the bicyclists and joggers as you make your way to the top. Not too bad, but don't be surprised as I was.

Once again, I used the Sunseeker App to determine sun direction which helps determine where I'm going to start and end my day. Knowing where the sun will be during certain times of the day can help you pre-visualize photographs as you drive around scouting locations.

The Vista Point visitor center gets crowded with both cars and people. I found most people moved on quickly so if you want a particular shot, just wait a few minutes. 1/100 @ f11, ISO 200.

3. Avoid the crowds.

It is clear that you are not the first person who has thought about photographing the Golden Gate Bridge, so be prepared for crowds, especially at the visitors centers. Sometimes you may also have to pass by a pull-over because it is full, but remember there will be another. It was my experience that if you have a little patience while people grab their selfies, they will move on allowing you to get your shot.

And as in most situations, you lessen your chance of running into crowds by getting there early and staying late. After all, isn't that the best time to shoot anyway? So take a break in the middle of the day and head over to Sausalito for some tacos and Mexican beer at the Salsalita Taco Shop while everyone else is fighting for a spot to photograph the bridge in the noon time sun.

Think about details and capturing pieces of the bridge, even from underneath. This was taken while walking from the Coast Guard station up the hill to the Vista Point parking area. 1/350 @ f9, ISO 200.

4. Look for something different.

The temptation is to go wide and take in the entire bridge. That makes a nice shot and sets the stage, but don't forget about details. With a telephoto lens, you can pick out details from many of the shooting locations I mentioned previously, but there are also places to access the bridge from underneath. And while I didn't get the chance on this trip, you can also walk or bike across the bridge, which would certainly get you up close and personal.

Among the first photographs I took of the bridge, was as I made the short climb at Battery Spencer which puts you at eye level with the bridge towers and in this case almost in the clouds. 1/60 @ f10, ISO 400.

5. Weather can be your friend.

I could state the obvious and just say that the weather, especially clouds and fog, are unpredictable in San Francisco, or I could tell you to embrace it and use it to your advantage. On my first day photographing the bridge, I could only make it half way up Conzelman Rd. before the visibility dropped to near zero. But those same clouds added something to my photos taken from Battery Spencer when they covered just the top of the bridge.

The point is, don't make a judgment from your hotel room downtown. Get out to the locations you scouted and see for yourself because you never know when the weather will change and maybe even change in such a way that takes your photograph from alright to awesome.

Photographed from the trail at Lands End. I rarely use presets, but something about this photograph reminded me of a classic postcard, so I added Yesteryear, and Rounded Corners White presets in Lightroom 5. 1/2000 @ f4, ISO 200.

As I said at the beginning of this blog post, there are many more locations to explore and photograph the bridge such as Crissy Field, Fort Point, Point Cavallo, Baker Beach and many, many more. In fact, maybe three days is not enough time.

So make the trip, have fun, and when not photographing the bridge, there are all kinds of other wonderful locations around the city to photograph.

MAKING TIME TO PHOTOGRAPH THE NORTHERN LIGHTS

A slightly longer shutter speed allowed additional colors to appear. 1/8 @ f2.8, ISO 3200.

One benefit of traveling on assignment is that you often find yourself in places that you might not otherwise have had the opportunity to visit. And whenever I find myself in these locations, I make it a point to take full advantage of all the photographic opportunities available.

Just to be clear, the assignment that I'm getting paid for always comes first, which means that I really have to muster the energy to do personal work. This was certainly the case on a recent trip to Fairbanks, Alaska, to document Navy-sponsored Arctic research.

Prior to any trip, I will conduct a web search looking for things to do and see at that location. Imagine my surprise when I kept seeing photographs of the Aurora Borealis, or Northern Lights. Was it possible that I would get the chance to not only see this but photograph it? For some reason, I thought you had to be much farther north.

The intensity of light was constantly changing which meant I had to keep adjusting shutter speed. 1/2 @ f2.8, ISO 3200.

As you can see from the photographs accompanying this blog that I was treated to a spectacular sight. Some tips and a little more about what it took to take these photographs follows.

1. Getting the photograph means you might lose a little sleep. Rarely are the best outdoor or landscape photographs taken at mid-morning, just after a leisurely breakfast and before a long lunch. Most of the time getting the best photographs means setting up before the sun rises and staying out after it sets. Of course, there is still time for that leisurely lunch, and maybe a nap in the middle of the day, unless you are getting paid to be there, then you have to make the extra effort. So to photograph the Northern Lights I had to set my alarm for midnight, and not just one night, but for three nights in a row until I finally found success.

2. Shooting something for the first time means experimentation. I had never photographed the Northern Lights, but I have photographed stars, so I knew that I first needed a location away from the city lights, which in Fairbanks meant about a ten-minute drive. Ideally, you would scout these locations during the day, but remember since I was on an assignment, I had to locate a safe and awesome location in the dark, which I fortunately did. On the second night, it was clear and the sky was filled with stars, but I didn't see signs of the Aurora Borealis. However, just because I didn't see what I was looking for, didn't mean I wasn't going to still take pictures.

I did not realize that I had captured a faint glow of the Northern Lights on the second night until I downloaded and post processed my photos. 1/13 @f2.8, ISO 1600.

3. Sometimes luck, even beginners luck, is your friend. If you asked me when I returned to the hotel that second night if I had any success, I would have said no. So imagine my surprise when I imported the images into Lightroom 5 and saw the subtle green and yellow hue in the sky. After some post-processing, I liked the images enough to share but still felt I missed out since I didn't actually see anything with my own eyes. Don't give up just because you don't see anything with your naked eye.

4. Persistence pays off. On the third night I once again woke up at midnight and headed back to the same location as the previous night, only this time as soon as I stepped out of the car, even before my eyes adjusted to the darkness, I could see streaks of green in the sky. By the time I set up my tripod and camera, the lights were sweeping across the night sky. I started with the same camera settings as I had the previous night and could tell right away that I wasn't even close. Remember tip two, experiment and don't get flustered. This time instead of a standard night star setup of a 15-20-second exposure at ISO 3200, I was at a two to four-second exposure at ISO 1600. Any longer on the exposure time and the lights were really soft because they were moving and "dancing" so fast. Given more time, I probably would have experimented more with that longer exposure.

5. Look 360 degrees. At first, I was really focused in one direction which had a good foreground of pine trees. It wasn't until I relaxed a bit, turned and started looking around, that I realized there were photo opportunities everywhere, even straight up. I just kept shooting with the Nikon 24-70mm and even though I did bring the 70-200mm with me, for some reason I left the 14-24mm lens in the room. In total, I spent close to an hour taking pictures and if it wasn't for that pesky aforementioned assignment, I would have stayed all night.

Even shooting vertical at 24mm I was not able to capture everything I was seeing. 1/5 @ f 2.8, ISO 1600.

After seeing the Northern Lights with my own eyes, I don't regret any sleep I missed and even as I sit here in the Anchorage airport on a five-hour layover and yet another 16 hours before I'm back in Virginia, the lights are still burning bright in my eyes.

Bonus tip:

Many of the hotels in Fairbanks maintain a wake-up list if you wish to be notified whether the Aurora Borealis is active on a particular night. My advice, just head outside and shoot; you may discover more in your photograph than you expected.

AS SCENE FROM A TRAIN - FIVE TIPS FOR BETTER PHOTOGRAPHS

Photographing an urban scene like this one as the train left Central Station in Montreal offers a different viewpoint of the city. Fujifilm X100S, 1/200 @ f5.6, ISO 200.

Traveling by train can be a wonderful experience, sitting comfortably and watching as the world passes by just outside your window. I suppose if you commute daily by train you might not see it as some wonderful experience, however, whether the train you are on is traveling through a beautiful countryside or the forgotten parts of a city, there is no reason why you shouldn't be able to take out your camera and make some amazing photographs.

We have all seen photographs out of airplane windows. Instagram anyone? Perhaps they are a bit cliche, although I actually don't mind them. Less often though do you see photos taken from a train and that's a shame. Maybe it is because more people fly, I don't know, but the opportunities to capture unique views from a train are endless. And many times it is not even possible to tell from the photograph that it was taken through a window while traveling upwards of 60 miles per hour.

Taking advantage of the stopped train while waiting to cross the border from Canada into the United States allowed me some extra time to compose this shot which would have been difficult with the train moving due to the strong back light. Fujifilm X100S,  1/950 @ f5.6, ISO 400.

So what do you photograph? Think about the difference between trains and cars, besides the fact that trains are on rails and cars are on the road, but what does that offer you visually. If you think about it, roads generally pass by the front of buildings and houses, whereas trains travel behind, which makes it possible to capture a unique perspective. If you are out west or up north, it can be about beautiful landscapes, but most trains travel through urban and industrial areas as well so you see the back side of the city or urban landscape. Take advantage of both and you will be surprised at what you capture.

Notice how the foreground is a blurred. I still think it adds some interest. Fujifilm X100S, 1/500 @ f5.6, ISO 200.

Before you break out your camera on the next trip from Washington, D.C., to Philadelphia or beyond, let me offer some tips to help you start making beautiful images from the comfort of you train seat. And you barely have to put down your drink to do it.

Five Tips to make better photographs during your next train journey:

1. Pick a good seat. It might seem obvious, but you really should choose a window seat, otherwise, you better get to know the person you are sitting with very well. Somewhat joking, but there a few ways to ensure you will get a window seat and a good one at that. Use the red cap or a similar service even when you don't need assistance with your luggage because they will get you on the train before everyone else and that is well worth a few dollars. Boarding early also gives you the option to pick a seat with the cleanest, least scratched window. Finally, not all window seats are created equal, so make sure you get one that is more or less centered on a window.

I selected the left side of the Amtrak Adirondack train from New York to Montreal because I knew the Hudson River would be out my window during most of the trip. The ice was a bonus. Fujifilm X100S, 1/1250 @ f2.8, ISO 400.

2.Select the side of the train that will afford you the best views. If it is not a route you are familiar with, then a little research will go a long way. Google maps do show train tracks. Another consideration when selecting which side to sit will be the direction of light. Shooting into the sun can create some interesting photos, but remember that you are shooting through a window so the sun glare and reflection may not allow for photographs. Compare it to sun glare on a dirty windshield, it is the same thing.

Downtown Albany, New York, as the sun goes down. I like the empty parking lot and elevated shooting position. A view that would be difficult if not for riding on the train. Fujifilm X100S, 1/1250 @ f2.8, ISO 400.

3. Pay attention to your aperture. Selecting a wide aperture, f 2.0 - f 5.6, will limit the effects of shooting through the window, similar to shooting through a fence. If you have the time and can do it safely, clean the window from the outside prior to boarding. Of course, you should check with train personnel before you do this just to be on the safe side. But at a minimum, wipe the inside of the window. You don't have to shoot wide open though because you do want some depth of field, but too much and you will be spending a lot of time cloning out spots caused by dirt on the window.

4. Shutter speed matters. Objects close to the train will blur even at relatively fast shutter speeds. If you are shooting objects in the distance without a foreground then you can get away with a slower shutter speed even on a fast-moving train. If a fast shutter speed is not possible or you are just looking to get more creative, then slow the shutter speed way down and blur the scene as you pass by. Instead of you panning with the camera, let the train do it for you. Think about this technique to photograph trees during the Fall.

Photographing the backside of the city. The slightly burred train structure at the right adds just enough context to let the viewer know that this photo is taken from a train. I like the industrial look and hints of color in this image. It can be hard to frame a shot while the train is traveling at 60 m.p.h. so take plenty of shots.  Fujifilm X100S, 1/160 @ f5.6, ISO 200.

5. Always be prepared to shoot and when possible try to anticipate what's coming up. Even when you are very familiar with the route, the view outside will pass by quickly so you need to keep your camera ready and as close to the window, without touching it, as possible. This might be a good time to mention that a wide angle lens works best, especially in a changing landscape. Fast moving trains make framing and shooting with long glass difficult. If the train is moving slowly or you are traveling the great plains, then this may not be a problem.

Take the time to shoot lots of pictures on your next rail journey and let the results surprise you and your friends. Besides, there is much more to see from a train window than from a plane window.

Check out Amtrak train routes and start planning your adventure today.

HIPSHOTS

STAIRWELL - Nikon 70-200 at 116mm, f3.2, 1/100, ISO 2000.

What are Hipshots? You know that unmistakable sound of the shutter releasing when the camera is no where near your eye; well that is what I am calling a Hipshot*.

This normally happens to me when I'm carrying two cameras and the one hanging over my shoulder knocks against my side, or Think Tank belt system, etc., causing the shutter to release and giving me a wonderful photograph of the ground beneath my feet.

OUTFIELD - Nikon 70-200 at 200mm, f2.8, 1/2500, ISO 400.

This isn't a new phenomenon, however a few months ago when downloading photos from a corporate kickball game a few of these Hipshots caught my eye. So instead of deleting them and moving on, I decided to save them to a folder and make a point of saving others from my assignments.

INFIELD - Nikon 70-200 at 190mm, f3.2, 1/2500, ISO 400.

I also started looking at them closely and thought they weren't half bad. Art? I'll let others be the judge of that.

Five tips on avoiding Hipshots:

1. Turn your camera off when not actively shooting.

2. Don't carry your camera over your shoulder, but instead leave it around your neck.

3. Use an across the chest strap such as one from BlackRapid to reduce the risk of the shutter knocking against your side since the top of the camera is facing down.

4. If you don't want to turn your camera off or carry it around your neck, be aware that it might occasionally go off without your knowledge. Could be embarrassing in some situations, especially if you are shooting in continuous high shutter mode. Nothing draws attention to you like firing six frames per second at the wrong time.

5. Ask yourself if you really want to avoid them? Don't sweat it and just accept the results. Modern painter and artist Bob Ross was famous for saying, "We don't make mistakes; we just have happy accidents".

PAVEMENT - Nikon 24-70 at 52mm, f2.8, 1/3200, ISO 200.

Don't be afraid to have a few "happy accidents" today and if you do, feel free to share them with me. And besides, I believe most of these photographs are as good as anything I see on Instagram.

*All the Hipshots in this post are shown just as they came out of the camera.

HISTORICAL ASS?

I'm sure the president of the University of Richmond was unaware of what television viewers saw behind him during a C-SPAN3 broadcast of a panel discussion on History in the Digital Age, but it sure caught my eye. Also, I'm sure that no one who was present in the audience that day was aware. And just maybe, if I hadn't put it in the title of this blog, you too would be wondering why I posted this picture?

In all things photography, both still and video, you must always be aware of the background. In this case the Historical Association's banner placed behind the speaker would at first seem like a good promotional idea. But did anyone check what the background would look like when viewed at 16:9 on television? I'm pretty sure they didn't.

In most cases a photographer scans the background looking for a pole or tree branch poking out from behind a head. In other cases it is making sure nobody is flipping the bird or photobombing during an interview.

In this blog I'll talk about photographing a conference, something I do quite often, where having a dynamic background, preferably with the conference title, can add interest and help tell the story, and where a poorly designed background can present all types of problems.

Same conference background viewed from two different angles works equally well in both instances. Bill Nye the Science Guy, left, and Secretary of the Navy Ray Mabus speak at the Naval STEM Forum in 2010. This background presented many interesting possibilities regardless of the angle I shot from.

Tips for those designing backgrounds.

1. Take into consideration all the angles that photographers will be shooting from.

2. In backgrounds, size does matter. If too small it will look strange when photographed using a wide angle. Too big and the speaker will get lost.

3. The speaker will get lost if the background is too bright, either by color choice, or over lit by the production crew. If the background is too busy, it could detract from the subject.

4. Keep in mind that the video camera is probably on a riser in the back of the room shooting straight on, while still photographers are shooting from a lower angle.

Video screen showing presentation in background adds graphical interest to otherwise static photograph of Mr. Thomas Kalil, Deputy Director, White House Office of Science and Technology Policy.

Tips for photographing backgrounds.

1. Work with the background by varying your angles to add interest. Make it work with the photograph by incorporating or isolating portions. Be selective.

2. If there are video screens off to the side, see if the imagery or graphics can be used to enhance interest. Emphasize patterns in these slides by using a shallow depth of field.

3. If possible find a way to elevate yourself, such as shooting from a riser or using a ladder, to put yourself at eye level. If the background was designed to be viewed this way without many options, then put yourself in the same position.

4. If the background does not work at all, or if there is no background and just a curtain, do your best to avoid leaving a black hole behind the speaker. Shooting from an extreme low angle to include overhead lights or spots can add interest, or shooting from slightly behind the speaker and including the audience is a good idea.

Besides presentations, video screens often will show the speaker, especially in large venues. In this photo the screen on left was directly behind the speaker and just didn't look right if photographed straight on,  however when taken from the side and including another screen, I think it frames the speaker, Rear Adm. Matthew Klunder, chief of naval research, nicely while adding interest.

Whether you are designing a background, have input into the design, or are the photographer assigned to cover a conference, take into account all the possibilities and most importantly, if your organization or company's title includes the word "Association," BE CAREFUL!