foto Priority

A big thanks to Chris Belyea again for this contribution to foto priority. This time Chis brings us an Amateurs ‘How To’ Guide to Turimetta Beach.

Don’t forget you can checkout 100′s more of Chris’s images on his flickr site

Its back to the beach at sunrise for this instalment, and more than likely when I mention Turimetta Beach there’s a fair chance that (well if anyone actually reads this) will comment … ‘where’ ?

In a nutshell … between Narrabeen and Warriewood beaches but it’s not a beach that you’ll stumble upon, you have to know it’s there and seek it out to find it, it’s remote and secluded and has no surf life saving club or direct road access, but it does have is some fantastic seascape opportunities both day and night

Just a word of caution, this really is an unspoilt beach, so if you do decide to visit, please make sure you leave it that way .. the locals will appreciate it.

©Chris Belyea

About this shot

Canon EOS 5D Mk II, ISO50, f/11 at 1/8 s, Av mode, -1/3EV, Evaluative metering

Manfrotto tripod, mirror lockup, cable release

EF24-105mm f/4L IS USM at 24 mm

This shot was taken at the southern end of the beach where there really is an infinite variety of shapes, textures and colours

Things to Consider

1. Seems pretty basic, but this is a beach environment and depending on the surf conditions, you’ll need to take care just where you set up as most photographic gear doesn’t enjoy getting wet
2. There’s no facilities on the beach, or nearby, so be prepared and travel light
3. At low tide, its possible to walk around to North Narrabeen along the rock shelf which can offer up additional possibilities
4. As Turimetta is very secluded, there’s no transient light at night from the surrounding area so night photography is also a definite possibility

Equipment

The beach due east so at sunrise you will be shooting directly at the sun so graduated neutral density filters can help if its particularly bright.

Needless to say, a tripod is essential as the shutter speeds can get rather low, and I’d suggest you get familiar with how to put your camera into Mirror Lockup if that facility is available.

A remote shutter release is also a great asset, however if you don’t have one, simply put your camera into self timer mode

As you’ll be shooting in a less than kind environment, some microfiber cloths are a good idea to clean your gear off with when you get back to the car

Best Time to Shoot

I’ve found the best time to shoot is definitely pre dawn and sunrise, however mid winter during the day, if you’re lucky enough to score of those magical crisp, clean and cloudless days also offers up a few possibilities, especially of the tide is low and there’s no surf running.

The best time to shoot is definitely at ‘first light’, typically about 30 minutes before sunrise as this allows you to set up and assess what’s happening with the pool, the sky etc

How to get there

Google Maps is your friend again … just type in Turimetta Beach and you’re good to go.

I’d suggest you park in Pearl Place if there’s space available, otherwise you’ll need to park in Narrabeen Parade, and then just follow the path down to the beach

Have fun !

A big thanks to Chris Belyea again for this contribution to foto priority. This time Chis brings us an Amateurs ‘How To’ Guide to Walsh Bay.

Don’t forget you can checkout 100′s more of Chris’s images on his flickr site

The past few weeks I’ve suggested shots best taken at sunrise, so in fairness to those that prefer to watch the sun go down rather than the other way around, this week I’ll move to a more central location for everyone, and at a more ‘user friendly’ time

Now we’ve all seen, and done, the iconic shots of the Harbour Bridge and the Opera House, but take a walk just around the corner to Walsh Bay and you’ll find a wealth of things to shoot.

Add in all the fantastic places to eat or have a coffee and you can lose a few hours here quite easily.

© Chris Belyea

About this shot
Canon EOS 50D, ISO100, f/8 at 30 s, Manual mode,0EV, Evaluative metering, Daylight WB
Manfrotto tripod, mirror lockup, cable release
EF24-105mm f/4L IS USM at 24 mm

OK, I’ll be the first to admit that there’s really nothing all that difficult about taking a shot like this beyond finding the right spot, but as in most cases ‘its all about the light’ and you’d have to admit that there’s plenty of that here !

Obviously a tripod is going to be an essential item here given the long exposure times and that also has the added benefit of giving the water that great glass like quality

The RAW file was processed in Lightroom to get the basic image to where I wanted it, and then used Nik Software plugins in Photoshop to finish things off

Things to Consider
1. The Walsh Bay precinct is a very popular area for a variety of reasons so be prepared to spend some time getting shots people free
2. Don’t leave your gear lying around … it could walk off !

Equipment
All you’ll really need is your camera, a tripod, and some time and a willingness to explore

Best Time to Shoot
As the wharves face almost due west, any time from sunset onwards can prove extremely rewarding

© Chris Belyea

But wait, there’s more !
Walsh Bay is alive with wonderful examples of period architecture and artefacts of times gone by coupled with fantastic examples of modern day sculpture, so there’s really no excuse not to come away with some great shots, but to point you in the right direction, here’s a few suggestions.

- Start off at Pier 1 with the Sebel Pier One hotel. The colours of the building when it catches the right light can be quite amazing.
- The end of Pier 2 is very popular with fishermen, and as it protrudes out into the bay more than any of the other wharves, it’s a great place for sunset shots as well as environmental portraiture of the ‘locals’.
- The Hickson Steps are directly opposite Pier 2 and the textures of the sandstone wall is well worth a look, as is the original drainage channel cut into the wall.
- Just along from the Hickson Steps is the Still Life with Stone and Car by Jimmie Durham.
- There’s some great blends of new and old architecture around Piers 6 and 7.
- Pier 9 is a mix of modern glass frontage offices blended with the older structures and is a great choice for some HDR work in the right light. I’ve found that overcast days work particularly well here.
- At the rear of Pier 9 is the Brett Whiteley Black Totem II … its not immediately obvious, and you’ll need to look around, but its there .
- In the right light, underneath the piers can be just as good as above.

This is only just a brief list, and I’m sure you’ll find a lot more.

How to get there
If you can find the Harbour Bridge, you can find Walsh Bay … stand under the Bridge and face west

There’s plenty of parking, although it’s a meter parking area, the charges ‘after hours’ are quite reasonable

Have Fun!

by Chris Belyea

A big thanks to Chris Belyea again for this contribution to foto priority. This time Chis brings us an Amateurs ‘How To’ Guide to the Homebush Bay Shipwrecks!

Quite often when you mention Homebush as a venue for a photo shoot, the typical response is not that enthusiastic …. ‘yeah, the Stadium and Acer Arena … boring !’

Not so, as most people are quite surprised to hear about the shipwrecks located in and around Homebush Bay and they can prove quite challenging to capture, but very rewarding when it all comes together.

Then main wreck is perhaps the most photogenic, however the other wrecks can prove rather interesting as well.

Ask any good photographer and they’ll quickly point out that its ‘all about the light’ and so it goes at Homebush Bay, but its one of those places that can change quite dramatically given certain weather conditions … sunrise is always a winner, but when its cloudy and storms are threatening, it’s the place to head to !

About this shot
Canon EOS 5D Mk II, ISO100, f/14 at 15 s, Manual mode,0EV, Evaluative metering, Daylight WB
Manfrotto tripod, mirror lockup, cable release, ND Grad filter (1 stop)
EF24-105mm f/4L IS USM at 24 mm

I set up on the small bridge just to the rear of the apartment blocks making sure that I had everything level, and then focused on the rear of the wreck, selected f/14 to try and get as much of the scene in sharp focus. This also made sure that I was shooting through the axis of the lens so as to avoid and weird distortions.

The long exposure time helped ensure that great glass smooth appearance on the water, but admittedly, the morning this was taken the was no wind at all – you just need to pick your times I guess

The lighting was fairly ‘even’ (nothing too bright or dark) as you’re facing almost due east, I went for Evaluative metering as the spotlight from the apartments illuminated the main wreck rather well and I wasn’t overly concerned about the rear shoreline being in silhouette. I fitted an 1 stop ND Grad filter to darken the sky down slightly and then waited for the sun to co operate.

Bearing in mind that the 5D Mk II is a full frame camera, to get this angle/perspective with a crop camera you’ll need to have a wide angle lens of around say 10 – 15 mm. Canon shooters with the EF-S 18-55 lens should be OK and I’m presuming Nikon has a similar lens in this range

The RAW files was processed in Lightroom to get the basic image to where I wanted it, and then used Nik Software plugins in Photoshop to finish things off.

Things to Consider
1 – You’ll need to time your visit quite carefully if you planning a sunrise shoot as the main wreck is illuminated by spotlights from the nearby apartment blocks and these turn off around (or appear to) 6:00 am. After that you’ll be relying on natural light and if there’s no clouds about the wreck can remain quite dark whilst the sky gets very ‘right’
2 – The wrecks are a roosting ground for sea gulls, and they get quite active around sunrise, so you’ll need to be patient. They also make a lot of noise

Equipment
The main wreck faces due east so at sunrise you will be shooting directly at the sun so graduated neutral density filters can help if its particularly bright.

Needless to say, a tripod is essential as the shutter speeds can get rather low, and I’d suggest you get familiar with how to put your camera into Mirror Lockup if that facility is available.

A remote shutter release is also a great asset, however if you don’t have one, simply put your camera into self timer mode

Best Time to Shoot
I’ve found the best time to shoot is definitely pre dawn and sunrise, however when its gray and overcast can also prove to be ‘rewarding’

How to get there
Park in the car park on Bennelong Road and then make your way along the path adjacent to the apartments and just beside the bridge. Just follow the path and you can’t miss the shipwreck.

If you’ve got the time, there are two other wrecks but can be difficult to find and are very easy to miss.

To find the Hidden Shipwreck, proceed over the bridge and enter the gates on your left, follow the path until you come to the first path on your left … keep your eyes peeled … the wreck is on your left !
View Larger Map

To get to the third wreck, get back onto the main path and follow it around past the observation tower and its about 200 metres past there but its also screened by the mangroves, so you’ll need to be observant

Google Maps and Google Earth both show all three wrecks quite well

Have fun !

Chris Belyea has kindly agreed to become regular contributor to our “tripod holes around Sydney” category. We’d say looking at Chris’s photos on flickr he is certainly qualified to give everyone a “how to” guide for getting those awesome landscape and seascape images he has been producing lately. Keep reading below to find out how to get “that shot” at Mona Vale Tidal Pool.

If you live on Sydney’s north side, or are looking for something different to shoot at sunrise, I would suggest that you take a look at Mona Vale pool as there’s plenty there to inspire you as well as keep you occupied, and if you strike it ‘just right’ (more on that later) more than likely you’ll be rewarded with some great images to take away

Just a word of caution … I’m only an amateur photographer, who still has a lot to learn, and the information I’m offering is based on my experiences, and I’m sure that there will be plenty of better ways to do this, but we all have to start somewhere and hopefully this might help an aspiring photographer

OK, now back to the action !

There is a huge variety of shapes and textures at the pool, and as it sits at the end of a rock shelf, at low tides the background, depending on where you’re shooting from, can be as interesting as the foreground.

The simple geometric lines of the pool, and the wonderful stainless steel railings and chains, offer a huge variety of compositional possibilities.

Aside from the main pool itself there’s also some great shots to be had of the pool steps, the ramp leading to the smaller play pool and the wonderfully rusted valves on each pool

Mona Vale Tidal Pool - Chris Belyea

About this shot

Canon EOS 5D Mk II, ISO100, f/11 at ½ s, Av mode, -1/3EV, Evaluative metering

Manfrotto tripod, mirror lockup, cable release

EF24-105mm f/4L IS USM at 24 mm

I set up on the steps of the pool making sure that I had everything level and then focused on the 4^th railing from the right at the far end of the pool and selected f/11 to get as much of the texture in the foreground in sharp focus. This also made sure that I was shooting through the axis of the lens so as to avoid and weird distortions.

As the lighting was fairly ‘even’ (nothing too bright or dark) I went for Evaluative metering and deliberately underexposed by -1/3EV to gain a little more contrast. Admittedly, I can get away with this with the 5D Mk II’s low noise and light ability, however the results with other setups may vary

Bearing in mind that the 5D Mk II is a full frame camera, to get this angle/perspective with a crop camera you’ll need to have a wide angle lens of around say 10 – 15 mm. Canon shooters with the EF-S 18-55 lens should be OK and I’m presuming Nikon has a similar lens in this range

The RAW files was processed in Lightroom to get the basic image to where I wanted it, and then used Nik Software plugins in Photoshop to finish things off

Things to Consider

1. As with most Sydney beaches, the pool is illuminated by a set of sodium vapour lamps which will play havoc with your white balance, so the easiest solution is to set your camera’s white balance to Auto (I know some will certainly disagree with this) and take a test shot with an 18% grey target (I use a WhiBal) making sure that the pool lights fall on the card. It’s then a simple matter to adjust your white balance in Lightroom (or Photoshop, or Aperture)
2. Don’t even think of shooting here in anything but RAW as you’ll have no chance of getting rid of the orange glow cast by the sodium lamps
3. The lights are on a time clock and appear to shut off at around 6:00 am
4. The pool is very popular with early morning swimmers, so as the saying goes ‘ … the early bird …’ however I’ve always found them to be extremely friendly and more than happy to chat
5. Tides and wind direction can play a big part in how the pool ‘looks’ and behaves. At low tides, the rock shelf is exposed and the surface of the pool takes on a fantastic glassy look which is great at sunrise. At higher tides there will quite possibly be waves crashing into the pool, both situations offer great possibilities
6. Whilst Mona Vale is not typically a ‘big surf’ beach, you obviously need to be aware of the conditions around you … cameras and salt water are usually not a good combination

Equipment

The pool faces due east so at sunrise you will be shooting directly at the sun so graduated neutral density filters can help if its particularly bright.

Needless to say, a tripod is essential as the shutter speeds can get rather low, and I’d suggest you get familiar with how to put your camera into Mirror Lockup if that facility is available.

A remote shutter release is also a great asset, however if you don’t have one, simply put your camera into self timer mode

As you’ll be shooting in a less than kind environment, some microfiber cloths are a good idea to clean your gear off with when you get back to the car

Best Time to Shoot

I’ve found the best time to shoot is definitely pre dawn and sunrise, however mid winter during the day, if you’re lucky enough to score of those magical crisp, clean and cloudless days also offers up a few possibilities

The best time to shoot is definitely at ‘first light’, typically about 30 minutes before sunrise as this allows you to set up and assess what’s happening with the pool, the sky etc

How to get there

Mona Vale pool isn’t that difficult to find, and there’s usually plenty of parking.

Make your way along Barrenjoey Road, turn into Darley Street and then into Surfview Road. Park at the northern end of the car park and then make your way towards the beach.

Google ‘Apex Park, Mona Vale’ and that will take you where you need to be

If you’re planning a sunrise shoot, you can’t miss the pool as its illuminated by those wonderful sodium vapour lamps

Have fun !

more of Chris Belyea’s work