Story Behind Image

South Fork Rapids, January 2021 by Todd Henson

South Fork Rapids, January 2021

I continue exploring South Fork Quantico Creek, both looking for new sections and returning to previously visited sections in search of something different than I’d seen before. And I’ve not been disappointed.

This photograph was created January 3rd, so it’s one of the first photographs of the new year. We’d had some rain in the days prior so the water levels were high and the trails were muddy. It was fun watching backwoods joggers navigating the trails from a distance, how they had to slow way down in very muddy sections to keep from slipping. It was also somewhat cold, even with the thin gloves I sometimes carry. But I often took the gloves off so I could better control the camera. Granted, these gloves have slits in the fingers but I guess I’ve not gotten used to using them yet.

For this expedition I did as I’ve been doing a lot lately, bringing a single lens and perhaps a selection of filters and forcing myself to find compositions within the constraints of that focal length (or range of focal lengths if using a zoom lens). In this case it was an old 50mm f/1.4 lens, the kind without vibration reduction and where autofocus requires a motor in the camera instead of being located inside the lens, which is far more common these days. On the front of the lens I attached my Singh-Ray LB Warming Circular Polarizer. All this was mounted atop my tripod and I had on my water proof boots letting me get out into the creek just a bit.

I love this section of the creek and I continue looking for new ways of capturing it, and opening myself up to the lessons nature’s willing to teach. Framing a scene with a fixed focal length lens can be a challenge as you can’t always move closer or further back to get in less or more of the scene or to avoid that branch that keeps jutting out into view. And being a fixed focal length means there’s no zoom. So you have to make do, moving as you’re able, angling as you can, taking advantage of the height of the tripod to get down lower or higher. Using a 50mm lens contracts the scene more than the 16-35mm lens would, bringing more distant parts of the scene in closer, making each part of the scene seem closer together. The wider angle of a 16-35mm can stretch things out a little more. Those are some of the tradeoff and benefits of using different focal lengths.

I’d extended the tripod up fairly high to let us see as much of these rapids as possible and how they extended into the background a short ways. I chose an angled view of the creek, focusing on a section of rapids, only showing one shore, and standing as close as I could to the stronger flow without drowning my boots. I took advantage of the polarizing filter to reduce some of the reflections on the water, helping give portions of it the nice dark brown tone picked up from the rocks below. This also helped reduce reflections on the rocks and leaves, creating darker more saturated colors. I’m working on a future post that will better demonstrate the effects a polarizing filter can have on these sorts of scenes.

Regarding exposure, the primary concern here was shutter speed. I wanted one slow enough to show the motion of the water but not so slow as to completely smooth it out. So I experimented with a range of times and settled on just under half a second (0.4 sec). I liked the patterns this created. The browns in the water, especially the lighter ones reminded me of root beer (which I love) and some of the strongly moving sections reminded me of stretching taffy (maybe root beer taffy). Yes, I have a bit of a sweet tooth.

As for post-processing, I did my usual edits in Adobe Lightroom with the majority of the work being a fair bit of dodging and burning to darken and lighten various sections. I wanted to keep many of the whites fairly bright and I wanted some of the darker areas nice and dark creating a rich contrast between different sections and showing off the beautiful patterns of the flowing water and the rocks over which it flowed.

In the end I’m pleased with the results. But, as always, I look forward to returning and trying to do better, learning from each of these shoots and hoping to apply those lessons in the next one. And of course, just bringing along a different lens and all the options and constraints that come with it. Every outing is something new to look forward to, even if I don’t bring a camera or create any photographs. It can be both relaxing and exhilarating being out in the woods and along the creek. I hope I never tire of it.

Thanks for reading, and let me know your thoughts in the comments below.


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South Fork Flow - After the Rain by Todd Henson

South Fork Flow - After the Rain

We’ve had a fair bit of rain lately, enough to significantly raise the water level of local creeks. This brought to mind one particular spot, one I shared in mid-December, 2020, showing a channel of rock that narrows and increases the force of the water in that section. I thought perhaps I could photograph it after the rainfall and compare to the image from before. However, when we arrived I found it was impossible to photograph from the same location as it was at least partially underwater and the current far too strong to risk wading into.

So I moved downstream just a bit to get a different perspective on the water features. I had a longer focal length lens with me this time so I was able to zoom in on the section of falls that had previously been a channel. Now you can’t even see the channel, it just looks like strongly flowing water overtop rocks.

Below is a copy of the image from back in December showing the location where I stood to create the photograph above. This time I was facing upriver instead of downriver. Given how different this location looks I’d love to continue visiting when the water is at different levels and see what other views I can find. I wish I’d discovered these locations sooner. I’ve been here years and never hiked the right trails to see these features. It makes me wonder how many other marvelous scenes are very close by, just waiting for me to find them.

Showing where I stood to create the photograph above.


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Crossing Powell’s Creek by Todd Henson

Crossing Powell’s Creek

At the end of November I met my father in Leesylvania State Park to go for a morning hike. The park is crossed by a north-south railroad line and you can sometimes watch as trains traverse Powell’s Creek Crossing, a bridge over the creek. We had just passed under the bridge and were about to enter the woods when we heard the rumbling of an oncoming train. I didn’t think I’d get back to the bridge in time to photograph it but decided to try anyway. And as luck would have it I arrived in plenty of time to stand and photograph the train as it crossed the bridge. This ended up being a fairly long train pulled by two CSX locomotives.

The History

Powell’s Creek Crossing, a concrete deck railway bridge over Powell’s Creek

The history of this rail line stretches back to 1864, when they began constructing it, and in 1872 it opened for service. At the time it was a wooden trestle bridge, but in 1928 they replaced it with the current concrete deck bridge to allow for larger and faster trains. Previously the trains were limited to 20 miles per hour in this stretch due to the wooden trestles and curves in the line. So they straightened the curves and replaced the wooden trestles. Powell’s Creek Crossing was the last wooden trestle bridge on the line.

The Photograph

On this particular morning the sky was completely clear and the sun was shining from behind me, illuminating the bridge and the train as it crossed. I had on my wide angle zoom lens so I was able to photograph a large part of the bridge, showing a bit of the shoreline on each side. I often like showing a bit of motion blur with moving trains to show they are, in fact, moving. I didn’t have my tripod with me on this hike, but the train was moving fast enough that a shutter speed of 1/50 second was still enough to capture a small amount of blur while holding the camera steady enough to keep the bridge sharply in focus. And because I was using a wide angle lens and the train was moving away from me the front locomotive, which is further away from the camera, appears to have less motion blur than the car closest to us, which I also like.

The Processing

As I mentioned, it was a perfectly clear day, not a cloud in the sky, and it was still early enough to show a nice blue sky. I was hoping for a little punch to the photograph with contrast between the sky and the train so I had on a circular polarizing filter to darken the sky and make that blue even richer, as well as possibly reducing any reflections from the train. However, I made a very common mistake. I didn’t take into account the wide angle I was shooting at (16mm on a cropped sensor) and my angle from the sun. If you look at the original unprocessed color version below you can see the result of this mistake. Notice how the blue in the sky changes, very rich and dark in the central portion but getting progressively lighter on the left and right. Sometimes circular polarizing filters create this effect when shooting very wide angle. I won’t get into the technical details of why, but it’s something you should be aware of. Try it sometime if you have both a very wide angle lens and a circular polarizing filter. Change your angle to the sun and see how the tones in the sky change.

The unprocessed original color version of the photo

The color, itself, didn’t do much for me in this photograph so I decided to convert it to a monochromatic image. In Adobe Lightroom I converted it to black and white and did my typical post-processing. Then I added a split tone to give it just a touch of color, to warm it up a bit. This involved adding a yellowish tone to the highlights and an orangish tone to the shadows. I also corrected the sky tones caused by the polarizing filter, trying to create a more consistent tone in the sky that gradually lightened towards the horizon. I think this monochromatic treatment really helps the train and the bridge stand out.

Click on the image below to cycle between the final monochromatic and original color versions.

What do you think? Did the monochromatic treatment add something to the photograph? Or do you prefer the color version?


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