This the fifth and final of a series of landscape photographs taken from this position.
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Slievenaglogh View with road, east
The peak is named, in the English language, Slievenaglogh. It is so strange as it’s not English, being instead a transliteration of the Irish name “Sliabh na gCloch.” This is “Rock Mountain” translated literally. Slievenaglogh is carried to the townland, a long thin swath of land being the peak and associated ridge-line.
The rocks up there are called “gabbro,” a type of magma slowly cooled under ground. Slievenaglog, Slieve Foy across the valley, and the Morne mountains all formed within volcano magma chamber(s) of the Paleocene, 66 million years ago, a time associated with extensive volcanism and the Cretaceous–Paleogene extinction event that gave rise to the current age.
Our younger cousin has been up there, optimistically we left it for a later trip.
Slievenaglogh View, northeastSlievenaglogh View, east northeastSlievenaglogh View, east northeastSlievenaglogh View, north northeastSlievenaglogh View with road, east
Consider these photographs of waves interacting with the basalt columns of Giant’s Causeway at low time to be a sequel to “Kelp”“Tide”. “Movement,” and “Movement Redux.”
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Copyright 2020 All Rights Reserved Michael Stephen Wills
Canon’s 24 mm “L” lens saw first light on this tour, was indispensable towards the end of our round of the island. Here the camera is mounted on a Manfrotto studio tripod with a hydrostatic ball head. A 0.6 neutral density graduated filter brought out the sky details though I could not catch the foreground polygons without darkening the far basalt columns.
My position is close to the photographs of all the posts since “Basalt Columns.” Here are two photograph of the pavement effect, walking across column tops. Notice the concave facings, identified by dried seawater pools (white circles), the boss of convex surfaces.
I released the tripod “panning” control, searching for the best aspect.
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Here is a project completed for a “Fundamentals of Photography” refresher course. The task is to use a variety of lenses of my choice to document scene from my surroundings. These photographs document a family heirloom, mouse figurines collected by my wife, Pam’s, mother, Patricia Crist, assembled by Pam into two display cases with assorted figures created by Pam’s daughter, Denna.
24 mm wide angle fixed lens, f/22
50 mm fixed lens, f/6.3
70 – 300 variable lens, f/9.0
70 – 300 variable lens used for macro photography
Copyright 2020 All Rights Reserved Michael Stephen Wills
Today, enjoy two videos of shorebirds taking flight at once. Starlings can flock and swarm in clouds of birds, called murmuration. My videos of a shorebird colony taking fright, at something unknown as the beach was empty, are from my IPhone 7.
This is a still image, high resolution, similar to the view of the second video. A repeat from yesterday.
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With a tripod it is simpler to achieve a level horizon….
Canon EOS-1Ds Mark III
December 3, 2014 President Obama warned of the coming pandemic and passed along plans and a team to the incoming Trump administration. By December 2019, the pandemic unleashed in China, Trump gutted this capability and, while Pam and I were planning out January 10th Walt Disney World trip, hid the truth from United States Citizens.
We were keeping an eye on China, by January 10th the Chinese communist government was lying, “there is no human-to-human” transmission they told the WHO (World Health Organization). Knowing the truth, our plans for that day would be different.
One week before January 10, the dawning of the day photographed here, “the CDC Director Robert Redfield was notified by a counterpart in China that a “mysterious respiratory illness was spreading in Wuhan [China]”. Redfield notified HHS Secretary Alex Azar shortly thereafter, who shared his report with the National Security Council (NSC). According to The Washington Post, warnings about the virus were included in the President’s Daily Brief in early January, an indicator of the emphasis placed on the virus by the intelligence community.” December( and maybe October/November), 2019 through January, 2020: COVID-19 was spreading across the USA as visitors from Wuhan disembarked from planes.
The following images compare IPhone 7 to a dslr mounted on a tripod.
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IPhone 7
With a tripod it is simpler to achieve a level horizon….
Canon EOS-1Ds Mark III
I heard the word “shroomed” (as a verb) used in Episode 1, Season 6, of Bosch. As in “the Federal Government treats us like mushooms”: grown in excrement and kept in the dark.
One day after my “Sunrise Texture” series as the sun rose on Cocoa Beach I was waiting with the same photographic kit. It was perfect weather for a visit to Walt Disney World, planned for that day: unsettled.
This image couple demonstrates the effect of long / short exposure without using filters. I changed the ISO and F-stop to achieve these effects.
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ISO 50 F/32
With a tripod it is simpler to achieve a level horizon….
ISO 500 f/6.3
I turned around to observe the colonies of shore birds…..
Betelgeuse, AKA “Alpha Orionis”, was the first star disk, other than our Sun, measured. One hundred years ago the apparent size of Betelgeuse was then as now 0.003% of the sun. I bring this up because this “red” star at the end of its life cycle, is in the news, being now 40% of its brightness last year.
Betelgeuse is so far away this dimming is 700 year old news, the time it takes for light span the distance. News of our sun is more recent, sunlight informs us of the Sun’s surface from 8.33 minutes ago. Sunlight bursts from clouds to the camera in an instant of a second. In comparison my reactions to capture it are glacial. Sixteen seconds passed since the images of Series 6, time for three exposures at a slowed pace now the sun breaks free from the clouds.
Twelve minutes, fifty four seconds elapsed from the first images of this series. Seventy nine exposures taken with 16 selected moments, these last without the sand mirror.
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Exposure: 1/400 sec at f / 4.5, Focal Length: 24 mm, ISO 100
A Willet feeds in the new day. This is a species sandpipers, a cousin of the Sanderling of yesterday’s post.
Exposure: 1/400 sec at f / 5/0, Focal Length: 24 mm, ISO 100
All sixteen Sunrise Texture moments are presented below.. Suggestion, for this series in a larger format, open a separate browser tab for each post. At series end you will then have eight (including the very first post a few weeks ago) landscapes to compare.
Exposure: 1/6 sec at f / 22, Focal Length: 24 mm, ISO 125
Exposure: 1/250 sec at f / 4.0, Focal Length: 24 mm, ISO 125
Exposure: 1/250 sec at f / 4.0, Focal Length: 24 mm, ISO 125
Exposure: 1/10 sec at f / 22, Focal Length: 24 mm, ISO 125
Exposure: 1/250 sec at f / 4.0, Focal Length: 24 mm, ISO 125
Exposure: 1/320 sec at f / 4.5, Focal Length: 24 mm, ISO 125
Exposure: 1/400 sec at f / 5.0, Focal Length: 24 mm, ISO 250
Exposure: 1/15 sec at f / 22, Focal Length: 24 mm, ISO 250
Exposure: 1/400 sec at f / 5.0, Focal Length: 24 mm, ISO 250
Exposure: 1/400 sec at f / 5.0, Focal Length: 24 mm, ISO 250
Exposure: 1/400 sec at f / 5.0, Focal Length: 24 mm, ISO 250
Exposure: 1/500 sec at f / 5.6, Focal Length: 24 mm, ISO250
A sanderling is a species of sandpiper. Exposure: 1/320 sec at f / 4.5, Focal Length: 24 mm, ISO 100
Exposure: 1/8 sec at f / 22, Focal Length: 24 mm, ISO 50
Exposure: 1/400 sec at f / 4.5, Focal Length: 24 mm, ISO 100
Two minutes pass from Series 5, and not because I have stopped snapping. My routine is to insert a (automated) sequential number into each filename. Using this it is possible to calculate the number of exposures in a series. Since Series 5, 16 were snapped before the first I could use in Series 6. Ten exposures between the first and last of Series 6, during which a minute, twenty eight seconds elapsed..
The sun disk is above the horizon, bursting from clouds.
Ten minutes, eighteen seconds elapsed from the first images of this series. Seventy one exposures taken with 14 selected moments of shining sand mirror, a strong curving return flow.
The small bird feeding, of the first image, is a Sanderling, one of the smallest species of Sandpipers.
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Exposure: 1/320 sec at f / 4.5, Focal Length: 24 mm, ISO 100
In this second image, the mirror is erased as sand absorbs surf. I needed to show the developing sun burst.
Exposure: 1/8 sec at f / 22, Focal Length: 24 mm, ISO 50
A slide show of these images. This set compares short exposure with open aperture (f 4.5) to a much longer exposure driven by a narrow aperture (f 22) and the lowest film sensitivity of the camera (ISO 50). Suggestion, for this series in a larger format, open a separate browser tab for each post. At series end you will then have eight (including the very first post a few weeks ago) landscapes to compare.
Exposure: 1/320 sec at f / 4.5, Focal Length: 24 mm, ISO 100
Exposure: 1/8 sec at f / 22, Focal Length: 24 mm, ISO 50
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Exposure: 1/400 sec at f / 5.0, Focal Length: 24 mm, ISO 250
I selected moments of shining sand mirror, a strong curving return flow with a continuing mark of a southeast wind of seventeen miles per hour, with bursts above twenty. Wind, waves, even the rounded particles of sand all created from the energy of the celestial body I am waiting to appear.
Exposure: 1/500 sec at f / 5.6, Focal Length: 24 mm, ISO250
A slide show of these images. Suggestion, for this series in a larger format, open a separate browser tab for each post. At series end you will then have eight (including the very first post a few weeks ago) landscapes to compare.
Exposure: 1/400 sec at f / 5.0, Focal Length: 24 mm, ISO 250
Exposure: 1/500 sec at f / 5.6, Focal Length: 24 mm, ISO250
Michael Stephen Wills Photography 
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