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Here is the marsh scene from Dersu Uzala that I was referring to. I highly recommend the movie, which was filmed on location in Siberia. Due to the spectacular scenery, it is better seen at a theater than at home on TV. If you have not seen it, I recommend you rent the original Russian version with English subtitles. https://www.youtube.com/watch?v=j3OMD1b82Js
More shots of the marsh in winter: Monday 12/8/14.
Looking southeast. With the proper composition, all signs of urban development disappear. The three tallest trees in the distance are on the grounds of the Willow Creek fish hatchery.
The walkway around the lake tunnels through shrubbery in many parts of the park. The twigs, trunks, and branches of the bare foliage create very interesting patterns in winter.
My son Daren is standing under a bush which literally grows over the walkway.
Taken off the floating dock.
A duck started following some people walking behind us as they crossed the floating dock. They caught up with us and the duck followed all four of us to a viewing spot on the other side of the lake. The duck was not afraid of us and would let you touch it. I tried to force the duck back into the water, but it would not go.
A few years ago my son and I found a cat which someone had dumped off at the park. We took it home to join our other pet cats. I told my son we could not take the duck home.
Looking southeast from the #2 viewing platform of the Edmonds marsh about a half hour before sunset on Wednesday (1/14/15). The tall, poofy-topped Doug firs in the background are on the grounds of the Willow Creek fish hatchery.
Compare these shots to the ones at the top of the page that I took a month earlier from the same location. Changes in the seasons and in lighting caused by the weather, the time of day, and the sun's seasonal position all conspire to make each day's shots from the viewing platform unique.
The resulting daily flushing of the marsh by salt water from Puget Sound will kill off some of the cattails and invasion plant species. It will return the marsh to some semblance of its original appearance before development of what is now the city of Edmonds started in the late 19th Century.
I like this series of shots, really shows what it looks like there. I wonder if the friendly mallard comes from George C. Reifel Migratory Bird Sanctuary in Delta, B.C., where large flocks of mallards follow you around, waiting for grain to fall out of your pockets
I like this series of shots, really shows what it looks like there. I wonder if the friendly mallard comes from George C. Reifel Migratory Bird Sanctuary in Delta, B.C., where large flocks of mallards follow you around, waiting for grain to fall out of your pockets
The tidal gate to the Edmonds marsh is closed in late October/early November due to concerns about the flooding of the adjacent, low-lying Harbor Square commercial complex and nearby streets through a "perfect storm" of winter rains + seasonal high ("king") tides. The tidal gate functions like a butterfly valve: fresh water from the two creeks which feed the marsh drains out into Puget Sound, but salt water from Puget Sound does not flow into the marsh.
The marsh can dramatically change its appearance after a rain before the fresh water can drain into the Sound. This is illustrated by a photo I took on Friday (1/16/15). These dynamics will change when (if?) Willow Creek is day-lighted and allowed to flow freely into Puget Sound.
There must be some weird personality trait buried deep within me.
I am fascinated by the patterns created by the exposed branches of leafless winter foliage, especially when it is back lit or reflects the sun at just the right angle.
There must be some weird personality trait buried deep within me.
I am fascinated by the patterns created by the exposed branches of leafless winter foliage, especially when it is back lit or reflects the sun at just the right angle.
great series, Terry! that technique sounds a lot like what's called "hyperfocal focusing", which is a great way to keep everything from the near foreground to infinity in sharp focus. usually works best with wide angle lenses in the 16-35mm range, but depending on the subject and focal distance, it can still work well at 70mm - as you've demonstrated quite well! with a 70mm lens at f/22, focused at, say, 100 feet, everything from about 20 feet on out to infinity would be sharp...
Thursday (3/12/15) afternoon I tried the "hyperfocal focusing" technique at the marsh using my 7D + 17-35L wide angle zoom. I shot handheld using aperature priority (Canon's Av mode) at f/22. The camera set the shutter speed at 1/30 and the ISO at 200. I adjusted the autofocus focal point to focus on the bottom of the picture.
That worked pretty well, Bill. I think if you set the autofocus point about 1/3 to almost 1/2 the distance between the horizon and the extreme foreground that it would have been in even sharper focus overall, from your 'toes' to the trees on the horizon.
That worked pretty well, Bill. I think if you set the autofocus point about 1/3 to almost 1/2 the distance between the horizon and the extreme foreground that it would have been in even sharper focus overall, from your 'toes' to the trees on the horizon.
with crop sensor and a 17mm lens at f/22, focusing just about anywhere closer than 300 yards should give you satisfactory sharpness from just in front of you to the horizon. even backing off on the aperture to f/16 - which is usually better for sharpness anyway - won't change the near limit by more than a couple of feet. the factor that has the greatest impact on the distances isn't the f-stop, but the focal length of the lens. on your 7D, a 17mm lens at f/16, focused at 100 feet, yields a range of acceptable clarity from 3 feet to infinity. reducing the aperture to f/22 gains you a foot on the near end, that's it - hardly noticeable. but bump that focal length from 17 to 35mm at f/16, and your near limit moves out to about 12 feet. at 70mm, it's 35 feet, and at 100mm it's 52. you can see where this is going... if you want the whole scene in focus, use a wide angle lens! a FF body works the same way, except that your near limits are closer because the 17mm lens is really 17mm, not effectively 28... that's one reason (out of several) that landscape shooters like FF bodies better... with a wide lens, you can get not only more of the scene in the frame, but more of it in focus as well...
part of the lack of clarity in the distance in this image is due to the sky blowing out the treetops, and the overall "fuzziness" of the background of reeds and branches.
More "hyerfocus" shots from the marsh taken on an overcast Friday the 13th with my tripod mounted 5DIII + 17-35L wide angle zoom set at 35mm. I varied the focal points starting about 1/4 the way out and working my way to about 1/2 the way out. With the full frame camera, wide angle lens, and f/22 aperature setting, it did not make much difference.
Next time out I am going to use my 24-105L wide angle zoom, which I think produces sharper photos.
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