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Every type of location presents its own photographic challenges. For the stark wilderness of Death Valley National Park, these can include harsh desert light, stark landscapes, and a vastness that can be daunting to capture in a single frame. In this course, travel along with author, teacher, and photographer Ben Long to Death Valley to learn about the challenges and techniques behind capturing the exotic beauty and surprising details of the desert.
(SOUND). Alright. I shot, I shot some more, out on the lake. We're, we're getting into the last of the light. So this is a lot like shooting in the late afternoon. It's now changing very quickly. But it's a little bit harder to tell that it's changing very quickly because it's not changing into dark, it's just changing into, flat Low contrast. So I went to get back on the road heading back out because as I drive this way, I'm driving into the sun. And I think I'm going to start to see some very different things.
I'm going to get a very different perspective on the whole area, very different from what I saw coming in. So, this is really just like what I've been saying about when your out walking around, you got to be sure your keeping track of light in all directions. I'm hoping that as we drive into the sun, I'm going to see some things light up in interesting ways. So, I'm just going to drive along here, I'm keeping my eyes peeled. I'm trying not to roll the car, but more importantly, I'm trying to find some good shots. (NOISE) I don't know what this is. I'm not convinced it's a naturally occurring phenomenon. But it's really different and interesting and starting to get this cool, these striations on the mountain.
So I'm going to see what, what I can do here. (NOISE) The appeal of something like this is it's converging lines, so that's just immediately something that can focus the viewer's attention. I like that it's pointing (SOUND) right to that white stripe on the mountains. I'm just not sure how much I need here. I like these two little rocks in the foreground, so (SOUND) I'll shoot it with that. But it might be that (SOUND) that's a better shot.
It's hazy. I'm going to be able to, of course, take that out with a black point adjustment. I don't think there's much else here, so I'm going to keep going while the light's still good.
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