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While setting up my camera and lens to shoot these

While setting up my camera and lens to shoot these three windmills from the bridge that crosses this particular dike in Rustenburg, Holland, I heard an unexpected and loud splash behind me, a splash that would soon be making its presence known in front of me, down on the water below, in what could be best described as an otherwise dead calm and very tranquil late afternoon in April.

“No, no, no, can’t be!!! A guy is about to row his boat into ‘my’ shot of these three windmills reflecting on the water???Are you kidding me!&%+#^*?” My brain was on fire! Initially, I was not a happy guy, but then as the guy in the boat rowed into the once quiet scene I visually ‘woke up’ and realized what an unexpected GIFT his presence was. The composition before me was now telling a far more interesting story, a lone man just out for a stroll in his rowboat, against the backdrop with a storied history AND unbeknownst to both of us at that moment, a composition was captured that would later wind up as the cover shot for my coffee table book entitled HOLLAND. Thanks so much “Mr.Rowrowrowyourboat!” You keep shooting!
https://youkeepshooting.com/row-row-your-boat/

We ‘write’ stories and one of the most often o

We ‘write’ stories and one of the most often over-looked ‘writing instruments’ that every photographer has at their disposal is choices in shutter speed.

On this day, in Mandalay, Myanmar I came upon an area in a local vegetable market where onions seemed to be ‘celebrating’ the liberation of their dry, outer purple skin.

A choice in using a freezing action shutter speed of a 1/500 sec. surely would have resulted in a clear and very precise capture, a statuesque, resulting in perhaps a stiff-like composition, but in an effort to turn up the volume of these jubilant onions, I chose to use a 1/30 second, a shutter speed that results in just enough subtle blurring to suggest that we are witness to the joyful dance of onions “shedding some skin.” Nikon D500, Nikkor 18-300mm F/8-F/13 @1/30 sec. 100 ISO Daylight WB
https://youkeepshooting.com/81108-2/

It was during a somber visit to a Somalian refuge

It was during a somber visit to a Somalian refuge camp that I enjoyed a brief, light-hearted moment when I came upon an unusually large and tall camel, a camel so tall that I easily stood underneath its long vertically extended neck and while looking up his neck, I managed to click a few frames of what I felt was arguably a fresh portrait of a camel. Shot with my Nikkor 18-300mm at 18mm, F/22 @1/60 sec. with 100 ISO. You keep shooting
https://youkeepshooting.com/fresh-portrait/

This is another recent scan of a 35mm slide, shot

This is another recent scan of a 35mm slide, shot in the year 90 or 1991, in West Friesland, Holland. It was about 30 minutes before sunrise; the moon was on its way to setting in the west. I have shot these same three windmills over the course of many years, and this image was taken while shooting images for a coffee table book I did simply called HOLLAND, published back in 1992.
This image didn’t make the cut, but its always been a favorite of mine, an image that could be an album cover for done ‘cozy’ Electronic Chill or Ambient Chill music.
Taken with my Nikon F/3, Kodachrome 64 slide film and I don’t recall the lens I used, (no meta data when shooting film of course) so I could be wrong but I think I used my 35-70mm at 70mm. I do recall shooting this composition from a distance, across both a road and a dike, and with the camera and lens on a tripod at F16 if not F/22 for two to four seconds. I do know that when shooting a scene with the moon, you can’t go longer than 8 seconds otherwise the moon will ‘disc’ because of the earth’s rotation.
As far as the colors, this has more to do with a welcomed ‘flaw’ of Kodachrome that long exposures of 1 second or greater would result in Reciprocity Failure, which in laymen's terms meant the colors would not hold up, they would ‘bleed’ as well create colors unseen, but like I said, more often than not, the ‘unseen’ colors were welcomed by most of us as was the case here. To my eye, the scene was more grey/white snow, yet due to reciprocity failure a much more blue/magenta image was created, something of course that I could not see until I dropped off my film at the camera store and then waited impatiently for 24-28 hours to pick up the film and spread it out on the light table. Only then could I get 100% confirmation that I ‘failed’ or ‘succeeded’. You keep shooting!
https://youkeepshooting.com/35mm-slide-scan/

This is truly a “one of a kind” photo and it h

This is truly a “one of a kind” photo and it has earned this distinction NOT because of anything I did, but first, a very brief history; the image was taken in 2006, on 35mm film, Kodak E100VS, and a few months ago, I scanned a handful of slides, this being one of them.

This past summer, I returned to this specific lavender field location, which was atop the Valensole Plain in Provence France, a field that was some distance away from the much larger and more noteworthy fields, and not only did I discover that this particular field had been replaced with side by side fields of wheat and sunflowers, but the lone oak tree was also gone, taken out by a bolt of lightning, three years earlier, according to the farmer I spoke with who lived nearby.

Thus, by default, it is now a “one of a kind” photo never able to be repeated again.

Nikon F-5, Nikkor 70-300mm at 135mm, F/32@1/30 sec. 100 ISO E100VS
https://youkeepshooting.com/one-of-a-kind/

Okay, so let’s just cut to the chase and address

Okay, so let’s just cut to the chase and address the elephant in the room; “yes this is a ‘corny’ portrait!” and now that we got that out of the way, let’s talk about the compositional power of all that corn, corn that is a combination of vivid color and texture, a pattern of corn that is ‘disrupted’ by the introduction of a subject that clearly does not fit the pattern, in effect, the woman is now the ‘preacher’ surrounded by the ‘choir’. Nikon D500, Nikkor 18-300mm at 130mm, F/11@1/125 sec. 400 ISO, Daylight/Sunny WB

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You Keep Shooting was started to inspire creativity to thousands around the world. Bryan Peterson is always trying to stretch the limit and come up with the most creative photos out there. Now he has brought these ideas and more to you! Every month you will receive new ideas that will challenge your photography.

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