From Above

POV—point of view—is what this month’s Picture This! was all about. We asked readers to send in photos made from sometimes dizzying heights to show us all how where you stand and the lens you use can make for some great photo ops. Readers responded with some very exciting images of architecture, nature, and even people made from above. The results might just inspire you to take camera in hand and gain vantage points that make us all see the world in a brand new way.

Thanksgiving Day Parade

Joel Cossrow, MD, made this rooftop shot of the parade in Philadelphia, Pennsylvania, with a Nikon D700 and a 70mm focal length with an exposure of f/5 at 1⁄125 sec at ISO 640. © Joel Cossrow, MD

Oriental Pearl Tower

Using a 17mm lens, Robert A. Levine caught all the shapes and designs from this tower in Shanghai. Exposure with a Nikon D300 was f/5 at 1⁄100 sec. © Robert A. Levine

Ngorongoro Crater

Jim Griggs made this enticing study of fog and trees in the Lerai Forest in Tanzania with a Canon EOS 20D and a Canon 100-400mm lens; exposure was f/8 at 1⁄800 sec at ISO 100. © Jim Griggs

Chrysler Building

This iconic building in New York City was photographed from a helicopter by Karen Celella with a Canon EOS 40D and an exposure of f/13 at 1⁄1000 sec at ISO 400. © Karen Celella

“Downward Dog”

This group yoga position was photographed by Dj Boyd from the platform of the Vulcan Statue at Vulcan Park in Birmingham, Alabama. Exposure with a Canon EOS 40D and an EF 17-85mm lens was f/10 at 1⁄125 sec. © Dj Boyd

Mandala

Michael Knox photographed these Tibetan monks at work in the atrium of the Austin City Hall in Texas. He worked with a Nikon D300S and a Nikkor 18-200mm VR lens; exposure was f/5.6 at 1⁄25 sec at ISO 800. © Karen Celella

Dockworker

This unique point of view of a dockworker was photographed by Thomas LaBounty using a Canon EOS 7D and a Canon EF-S 18-200mm lens. Exposure was f/5.6 at 1⁄250 sec. © Thomas LaBounty

Deer In Nara

Gene Hertzog photographed this mindful deer in a pond in Nara, Japan, with a Canon EOS 20D and a Tamron 35-150mm lens. Exposure was f/11 at 1⁄160 sec at ISO 200. © Gene Hertzog

Table And Chairs

This delightful design was shot by David H. Snyder from a hotel room above a terrace in Marrakech, Morocco. He worked with a Canon EOS 7D and a Canon EF 70-200mm lens and an exposure of f/6.3 at 1⁄320 sec. © David H. Snyder

Floor Pattern

Looking down from the second floor of the Aria Resort in Las Vegas, David Wagner waited for a figure to counter the dynamic floor design. He photographed with a Nikon D300 and a Sigma 17-70mm lens and an exposure of f/5.6 at 1⁄80 sec at ISO 800. © David Wagner

Swimming Pool

Shot from the 23rd floor, this lone swimmer was photographed in a pool at the Bellagio Hotel in Las Vegas by Bob Greenberg. He worked with a Nikon D80 and a Nikkor 55-200mm lens and an exposure of f/5.6 at 1⁄60 sec. © Bob Greenberg

Toronto Railyard

Shooting at about 100 feet above the tracks from an overpass into light fog, Tom Trask made this photo with a Nikon D80 and a Nikkor 55-200mm lens with an exposure of f/4.8 at 1⁄15 sec. © Tom Trask

Paternoster Square

Debbie Bice made this fascinating architectural study from atop St. Paul’s Cathedral in London. She worked with a Nikon D70 and an 18-200mm VR lens and an exposure of f/11 at 1⁄100 sec at ISO 400. © Debbie Bice

Tennis Anyone?

Gary Goatcher made this shot from the Squaw Valley chairlift in the town of Lake Tahoe. He got the shot with a Canon EOS 40D and an exposure of f/10 at 1⁄250 sec. © Gary Goatcher

Bryce Canyon

Jeff Dye made this wintery shot in Bryce Canyon, Utah, with a Nikon D300 and an 18-200mm lens. Exposure was f/11 at 1⁄40 sec with the camera mounted on a Gitzo carbon-fiber tripod and a Really Right Stuff BH-55 ball head. © Jeff Dye

 

Picture This! – Our Next Assignment
Pen And Ink

The transformation of a continuous tone to an essentially black-and-white image is a photographic “tradition” that spans darkroom to computer processing, and it’s a fruitful way of bringing out the essentials of line and form in a scene. Our next Picture This! assignment is to do just that—to send in a purely black-and-white graphic rendition of a continuous tone scene. You can send in prints made in the darkroom or with the aid of software, using high-contrast film or in-camera “art” filters or post-processing techniques.

This photo of a palm was made near world headquarters in Titusville, Florida, with an Olympus E-PL2 with the art filter ON and an exposure of f/7.1 at 1⁄320 sec at ISO 200. © George Schaub

Please Read This
It is important that you read and follow these guidelines. We need to follow this procedure because of the large volume of images we receive. If you have any questions, please e-mail us at: editorial@shutterbug.com.

1) Images sent to us cannot be returned. You retain complete copyright over the images, but do grant us permission to print your image(s) in the magazine and on our website, www.shutterbug.com.

2) Because images are not returned please send a quality print or duplicate transparency. We will not accept or view images on CD, ZIP, or any other electronic media.

3) Images will be selected on the basis of content and technical quality. Please mark your outer envelope with the topic of the month (for example, “Wide View”).

4) Enclose a short caption with the image stating camera, lens, film and exposure, plus location. If you are submitting an image with a recognizable person we must have a model release or signed permission from that person to reproduce their image in the magazine and on the website.

5) Please submit no more than three photos for consideration (4x6 up to 81/2x11).

Send your image and information to:
Picture This! Shutterbug Magazine,
1415 Chaffee Dr., Suite #10, Titusville, FL 32780.
Deadline for submission: October 15, 2011.
Images will appear in our January 2012 issue.
Our next topic: Patterns In Nature
Deadline: November 15, 2011
Publication Date: February, 2012

Please note: We receive hundreds of submissions for Picture This! each month and want to be sure we properly identify each image we publish. Please be sure to attach your name and image information to the back of each submission.

Want to see images selected for past Picture This! assignments? Go to www.shutterbug.com and click on Picture This! in the “More Articles…” box on the homepage.

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