Mexico Beach: Steven Wilner sent us this evocative image made in Cabo
San Lucas, Mexico. He photographed with a Mamiya 7II with a 65mm lens
on Agfa Scala black and white slide film. He then scanned the image
on an Agfa Duoscan T2500 and toned the sky in an image-editing program.
No other image manipulation was done on this Epson 2200 print.
© 2003,
Steven Wilner, All Rights Reserved
Herbert Glacier: This photograph of the Herbert Glacier in Alaska was
made by Ken Weissblum with a Nikon F2 and Nikkor 20mm f/3.5 lens on
Kodak EPP film. Weissblum sent us the panoramic crop, which worked great
for this image.
© 2003, Ken Weissblum, All Rights Reserved
Moon Over Monhegan: Frank E. Pierce sent us this image from Monhegan
Island, Maine, a place that has inspired artists for years. He worked
with a Nikon F100 and Nikkor 80-200mm AF f/2.8D lens and photographed
on Fujichrome Provia 100F at f/5.6 at 1/30 sec.
© 2003, Frank E. Pierce, All Rights Reserved
Laguna Shore:
William Prescott found the sunset at Laguna Beach, California, a bit
"uneventful," so he went on a search for other photo ops.
He found this great shot of water swirling around a rock and caught
it with his Canon EOS D30. His exposure was 2 seconds at f/14 with the
D30 set at ISO 100.
© 2003, William Prescott, All Rights Reserved
Malibu Light: This brilliant play of light was caught by Dr. Peter Sabolch
with a Nikon D100 and 28-70mm f/2.8D lens. Exposure was 1/750 sec at
f/14. Sabolch used an incandescent white balance setting to get this
great blue tone.
© 2003, Dr. Peter Sabolch, All Rights Reserved
Point Lobos: A pilgrimage
spot for photographers, Point Lobos has always inspired the eye and
heart. Ed Printz caught the mood and sense of place with his Nikon Coolpix
950. No exposure information was provided.
© 2003, Ed Printz, All Rights Reserved
Artistic Touch: Kevin James
sent us a series of manipulated images that catch all the spirit and
romance of the sea. James wrote that he has been "collecting skies
for a long time" and that he works with a Nikon F3 or Nikon D100,
scans his images with a Nikon 4000ED, and does a series of manipulations
and composites for
each image.
© 2003, Kevin James, All Rights Reserved
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Foggy Flight: Mark
Peterson caught the perfect moment of this bird in flight using a Minolta
Maxxum 9 and Tamron 200-400mm f/5.6 lens. He photographed on Fujichrome
Velvia with an exposure of f/5.6 at 1/200 sec.
© 2003, Mark Peterson, All Rights Reserved
Hard Water: Just looking at this picture made us cold, even here in Florida.
Joseph Busch photographed with a "rare" Optica Model IIA with
a Koki Luminant F 105mm lens on medium format Ektachrome 100 with an exposure
of f/8 at 1/200 sec.
© 2003, Joseph Busch, All Rights Reserved
Sunset In Mendocino: The sunset in the West means photographers don't
have to get up so early to get sun over water pictures. But Elmer Dudik
caught a beauty anyway using his Nikon F4s and 24mm lens. He photographed
on Fujichrome Velvia at f/22 at 1/2 sec.
© 2003, Elmer Dudik, All Rights Reserved
Pier At Long Beach, North Carolina: Sonny Poole caught all the mood of
a night at the shore with his Nikon D1X with a Nikkor 28-70mm f/3.5-4.5D
lens. Exposure was 6 seconds at f/22. Poole used a remote release with
his tripod-mounted camera and mirror lockup to avoid vibration.
© 2003, Sonny Poole, All Rights Reserved
Fort Myers Sail: Mary F. Ruppert
made this amazing study of light, with illuminated sails, using her Canon
EOS Elan II and 28-80mm lens on Kodak Royal Gold 100 film.
© 2003, Mary F. Ruppert, All Rights Reserved
Brilliant Sky: Made off Point
Loma in San Diego, California, this sky dazzles the eye with color and
light. Richard D. Grafton made this shot with a Nikon F5 with a 28-200mm
Nikon lens. He exposed on Velvia film using a polarizer with an aperture
of f/22.
© 2003, Richard D. Grafton, All Rights Reserved
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© 2003, George Schaub, All Rights Reserved
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Picture This! -
Our Next Assignment
Fill Flash
Flash isn't just for
lighting up a dark room--it's a great tool to use outdoors
for taking care of heavy shadows on a bright, sunny day or, in this shot,
of adding a dash of color on an overcast, snowy one. Fill flash is more
automatic now than ever before and is both an enhancer and problem solver.
So send us your fill flash shots and show everyone how you use this great
technique. This photo was made with a Nikon D100 camera on a snowy day
in New Hampshire.
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.
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
web site, www.shutterbug.net
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 web site.
Send your image
and information to:
Picture This! Shutterbug Magazine,
5211 S. Washington Ave.,
Titusville, FL 32780.
Deadline for submission: December 15, 2003.
Images will appear in our March 2004 issue.
Our next topic: Winterscapes: The Beauty Of The Season
Deadline: January 15, 2003.
Publication Date: April, 2004
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