​On a National Geographic Expedition to the Northwest Passage, I photographed this wave crashing in front of an iceberg in the Canadian Archipelago. An amazing route took us from Iceland, up the west coast of Greenland, across the Davis Straits to the offshore waters of Baffin Island. ​Photography is all about moment, and as I was working this photographic opportunity, that idea of moment really drove this event. I watched this iceberg (technically a “bergy bit,” standing between 1-4 meters out of the water.) Sitting in a Zodiac raft in rolling waters doesn’t provide the best platform from which to photograph, so the photographer has to use whatever technical tools (shutter speed) to counteract the movement of both wave and boat. ​Setting the camera at a shutter speed of 1250th of a second allowed me to handle that motion, as I was watching smaller waves cresting and crashing near and alongside the ice. The light was really beautiful: dark clouds in the background, light late sunlight painting the face of the water and ice. ​Watching this develop in front of my eyes was quite interesting. A wave would build, not quite near the face of the bergy bit. Or, it would crash against ice. Large rolling waves would cause our Zodiac to bottom out, making the body of the iceberg disappear. Or, it would push us too high, creating a poor shooting situation. My driver knew my intent, and worked at placing us in the perfect position. It’s pretty interesting seeing the images leading up to this. Bad wave, great light. Good wave, too low. Wave too small, light bad. ​As a long-time photographer from film days, you learn to read that situation, knowing when all those components came together. I watched, shot, waited, and shot more until everything coalesced. As soon as I saw the event and pressed the shutter, I felt I had gotten my picture. One of the great things about digital: that ability to instantly confirm the moment. ​Shot with an Olympus E-M1 and a 50-200mm lens. @JayDickmanPhoto, @NatGeoCreative, @thephotosociety, @imagereview

natgeotravelさん(@natgeotravel)が投稿した動画 -

National Geographic Travelのインスタグラム(natgeotravel) - 2月12日 11時48分


​On a National Geographic Expedition to the Northwest Passage, I photographed this wave crashing in front of an iceberg in the Canadian Archipelago. An amazing route took us from Iceland, up the west coast of Greenland, across the Davis Straits to the offshore waters of Baffin Island. ​Photography is all about moment, and as I was working this photographic opportunity, that idea of moment really drove this event. I watched this iceberg (technically a “bergy bit,” standing between 1-4 meters out of the water.) Sitting in a Zodiac raft in rolling waters doesn’t provide the best platform from which to photograph, so the photographer has to use whatever technical tools (shutter speed) to counteract the movement of both wave and boat. ​Setting the camera at a shutter speed of 1250th of a second allowed me to handle that motion, as I was watching smaller waves cresting and crashing near and alongside the ice. The light was really beautiful: dark clouds in the background, light late sunlight painting the face of the water and ice.
​Watching this develop in front of my eyes was quite interesting. A wave would build, not quite near the face of the bergy bit. Or, it would crash against ice. Large rolling waves would cause our Zodiac to bottom out, making the body of the iceberg disappear. Or, it would push us too high, creating a poor shooting situation. My driver knew my intent, and worked at placing us in the perfect position. It’s pretty interesting seeing the images leading up to this. Bad wave, great light. Good wave, too low. Wave too small, light bad. ​As a long-time photographer from film days, you learn to read that situation, knowing when all those components came together. I watched, shot, waited, and shot more until everything coalesced. As soon as I saw the event and pressed the shutter, I felt I had gotten my picture. One of the great things about digital: that ability to instantly confirm the moment.
​Shot with an Olympus E-M1 and a 50-200mm lens.
@JayDickmanPhoto, @NatGeoCreative, @thephotosociety, @imagereview


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