Our online Photo Class online gallery .

Our photo teacher, Carol Leigh, puts together a gallery of our work following each class. Here is an email she just sent out:

I created an online gallery of your work at my website and it's up and ready for you to see. Here's the link (to view class
#7, with lessons in straight lines, spirals, garage art, fish, motion, and symmetry): http://www.photoexplorations.com/Gallery072009/HTML/index.htm

What I did was select three images from each of you, trying to pick what I thought were your best. (That explains the feeble showing in the "Garage Art" section!)

Thank you for making this yet another successful online class.

Carol Leigh


We did good, didn't we?

Lesson #1 - Symmetry critique.

CRITIQUE: Linda Jeffers
SYMMETRY

DIFFICULT RED

Not sure why you named this
"difficult," Linda. If it was difficult,
you certainly did a good job with it.
Let me tell you everything you did
right . . .
Your primary challenge was depth of
field. I'm not sure how "deep" this
flower goes. It looks like a melaleuca
blossom, and sometimes they're long
like a bottlebrush or they're more
rounded but shallower. So your
decision was, how much do you want
in focus? Do you want just the tops of
the buds as they're opening in focus?
Do you want buds and red flower?
Do you want buds, red flower AND
background in focus?
Photography was much easier when we didn't know so much. When
I first began, I would have thought, "Oh, pretty flower. Click." But
no more. Now I (we) agonize over lighting, depth of field, angle of
view — it's not so simple any more. So in your case, when you were
working this flower (and now that I've seen you photograph in
person, both in Santa Fe and in Half Moon Bay), I kind of know
your thought process. So I'm guessing that yeah, you had a
challenging session with this flower.
You selected a lens aperture (f/stop) that would put the buds in
focus as well as the top "tier" of the red flower behind them. Focus
begins falling away as we move down through the flower and to the
leaves. By the time we see the very background, everything's soft.
What you've done is you've presented a flower that's extremely
sharp, where we can see how the new "tendrils"
emerge from the buds; we see the details in the
red tendrils and then all goes soft in the
background, but not so soft that we can't see a bit
of the leaves. The background is soft enough,
however, not to be distracting, and so it sets off
your flower most dramatically.
What I also like is the terrific complementary
color combination of red and green. Extra drama
as a result.
Your lighting is very soft, very subdued. And as
a result the red really pops, really seems to glow.
We're also able to see a lot of detail; nothing is
lost or obscured in dark shadows. If you'd had bright, harsh sunlight on this blossom, the look
would have been completely different.
Terrific focus. Very good lighting. Wonderful use of depth of field. Great colors. Beautifully
done.
I'm wondering, however, about the background on the left side. You've got lots of leaves on the
right, leaves that are pretty much the same color green as the green buds on top. But then on the
left side, almost splitting the photo in half, we're seeing purplish non-leafy stuff. If your photo
is all about red/green/texture/symmetry, then "purple lines" doesn't fit in with your concept and
becomes a distraction. Had you been able to put those same leaves in the left background, I
think your picture would have even more drama than it already has.
So for this "difficult red," you handled the situation beautifully. You have no idea how
impressed I am with how you've jumped into photography with all four feet, and how much
you've learned about shooting,
your camera, and (I'm assuming)
Photoshop in just 12 months.
Major kudos to you, madam.

SIERRA LAKE

Holy crap! What a terrific shot! If
this is Convict Lake in the eastern
Sierra, I'm thinking it's one of the
better photos I've seen of fall
color there. If it's not, then what
do I know? :-) It's still a good
photo.
It's often tough in scenes such as
this to expose properly for
everything. Most of the scene is
relatively dark — the
background valley coming down,
the trees, the reflection, etc. And
then there are much lighter areas
such as the hillside slanting
down from the upper right
corner, the patch of whiteness on
the hillside on the left (which is
reflected in the water), and little
bits of light grey granite rock
sticking out here and there.
When we have mostly dark
surroundings such as this, we
naturally meter for them, and as
a result, anything that's much brighter can easily be overexposed and blown out. And since
those lighter areas are what our eye is drawn to first, they become major distractions. Not good.
In the case of your photograph, you handled the lighter areas well. They're not so bright that
they're annoying. The only spot I DO find distracting is the white patch on the left hillside and
its reflection in the water. I think that if this were my photo, I'd clone out both the white spot
and the white reflection.
My only other suggestion would be to straighten the photo a little bit since it looks as though it's
leaning toward the left. This might be an optical illusion, however. When I line up your horizon
line with a straight line on my monitor, your horizon line seems to be straight. But if it LOOKS
wonky in the picture, even though it's straight, I'd still rotate the picture a hair to the right to
visually dewonkify it.
Two excellent photos from you. You should be very pleased. Thank you for posting them.
Carol Leigh
January 26, 2009

(I wrote the following back to Carol Leigh.)
Carol,
Thanks for your critique. You know me well. Your critique was so right on I wondered if you were hiding behind a bush watching me attempt this shot. I did have a challenging session with “Difficult Red”. I spent a very frustrating hour and a half on this one photo, racing the setting sun and hoping to get the shot I wanted before I had to leave for an evening engagement.
All camera tries were on a tripod, except the last try with my little fanny pack camera. The sun was just about to set behind Mt. San Jacinto. The sideways light on the flower was perfect. The background sucked. I moved this way and that way for a better background flower angle. When I first used the 100mm macro lens, the background was blurred and not a distraction. The background looked ok. But….the flower had too much depth for the macro lens; I couldn’t, as you mentioned, get all parts of the flower in focus enough as there were too many varying planes. The flower was about 2/3 inch deep.
I noticed I wasn’t getting what I wanted because I kept shooting some shots and then taking my card inside to view the shots on the computer. After the macro lens, I changed to a 50mm lens. Too much in focus – ugly background. I even tried a 70-300 lens and of course I had to back away too far from “Difficult Red” and that lens didn’t work. Then I thought, try my little Sony A640 fanny pack camera. This little camera is the camera I used for this shot. It gave me more depth of field, more of the flower in focus from front to back. Remember I have that rotating LCD on this little camera that I hold out away from me as I focus close up to my subjects when I shoot. So when I got back to the computer I noticed I was holding the camera out and shooting slightly down on “Difficult Red”; I wasn’t on the same shooting plane as the flower. This shooting slightly down on the subject angle changed the distance from the top of the flower to the bottom enough that the bottom of the flower was slightly out of focus.
Once I realized I had another stumbling block to getting everything in good focus, I was mad, the sun was gone and I was late for my evening plans. I sat at my computer with my head in my hands feeling very defeated, UNTIL………..this thought came to me…….Look at all you learned trying to capture this shot Linda. It even dawned on you while your head was in your hands that you weren’t shooting on the same plane as the flower. And then this thought came…..My god, you learned more about what different lens do, you learned more about depth of field, you learned more about level/angle of shooting, you learned to pay more attention to ugly backgrounds so you don’t have to spend so much time trying to make an ugly background not so ugly and you learned more about your camera and your tripod. So…..Linda be happy because whether I you got the shot you wanted or not, you got the point……You LEARNED.
I thank you Carol for these classes that make me pick up the camera when I don’t think I have time, and do what I love, learn to see through the lens of the camera. By Jove, I think I may be learning a little something.
Regarding the Sierra Lake, I had this photo labeled Convict Lake in my photo folder, but I think it was a lake north of June Lakes, named Parker Lake off 395. I noticed the white fleck in the water and started to clone it out when I realized it was a reflection of the remaining snow on the mountain. I decided to leave the snow in. But I did see it! I agree the photo would look better without it. And, I too thought the photo of the Sierra Lake looked like it was listing.
Thank you for your critique.
A happy,
Linda

Out by the Wind Farms for an hour today.

I was out shooting around 4:17pm today and Mt. San Jacinto blocked much of the only light left. I didn't particularly like this series of wind turbine shots so I played with black and white. (My son put that thought in my head. Thanks Lane.)

I was playing with filters here.

My new Mission Hills CC Hiking Group photo website.

I don't think I mentioned that I am now using http://gottago.smugmug.com/ instead of the Flickr.com photo site.
I post the photos I take on the hikes I lead for the Mission Hills CC hikers. Check it out. Today's hike was beautiful. We took a snack break at the Whitewater River.

I've been hounded by LR to start posting photos again. He says that photos shot off the TV don't count as practicing photography. So here are two shots I took today. I'm considering turning in one for the Straight Lines #2 Lesson due Feb 9th.

Santa Fe, New Mexico Photography Workshop Class Photos are up.

Our photography teacher, Carol Leigh, posted the 5 best of all of the photos she and all of us students shot.

http://www.photoexplorations.com/Gallery2008/HTML/index.htm

A link to select photos of all the students' work from our last online class.

Our online class is over. What's going to keep me honest in my pursuit of learning photography?
Hopefully this blog.

Here is a portion of an email I just received from our photo teacher:

It's been a wonderful ride, being with you the past two months. I've
created an online gallery of your work which you can see here:
<http://www.photoexplorations.com/Gallery052008/HTML/index.htm>

Your work looks good. And I think you're going to be amazed at how
professional your photos look in the gallery.

If you visit this gallery, and you click on a photo the student's name appears in the URL.

6th and last online class assignment Critique: Walk around the Block.

1 CRITIQUE: Linda Jeffers
Walk Around the Block
COURSE LAKE VIEW

For a photo in which it appears
you did a lot of things "wrong,"
this looks pretty good! :-)
The lighting is bright and sunny,
which is not surprising for the
desert, but it appears early/late
enough in the day that it's not
overwhelmingly bright. There are
long shadows that make things
interesting rather than having the
sun straight up, creating a
shadow-free zone.
The horizon line is centered, dividing your picture in half. Normally this isn't the best choice for
us, since putting the horizon line dead center tends to create a static composition, where our
eyes go right to the center of the frame and aren't encouraged to go elsewhere. What you did to
create a composition with movement to it (versus a static composition) was put the willow tree
off to the far right, have it close, and have it create a sort of frame through which we look at the
scene. So yes, our eye goes to the middle of the photo (where the light-colored building can be
seen off in the distance), but then the tree moves our eye over toward the right; the overhanging
branches then encourage our eye upward and over toward the left, as does the water in the pond.
What also creates interest and movement in your photo are the reflections of the tall palm trees
in the water. Without those trees, we'd have just a blank expanse of water. The shadows create
up-down movement as well as texture. The only thing that's definitely not working for you is
that green wooden stick coming up from the bottom of the frame. If you were to make a print of
this photo, I'd definitely clone it (and its reflection) out of the shot.
You created a very good shot despite challenging lighting. Well done.

2. LADY BACKLIT

You come close to greatness with this picture. First of all, let me commend you for spotting it to
begin with. And then let me commend you for exposing it as beautifully as you did. What's killing it is the land/rock in the lower
right corner. Heavy sigh. The rest of
your photo is fantastic. Here's why.
Moody, dramatic lighting. The dark
sculpture, the dark trees reflected in the
water, the deep blue of the water, the
golden glow in the upper right corner,
and the way the sculpture is sidelighted
— absolutely wonderful.
The earring. The way you seem to have
metered off the brightly colored earring
is great. As a result, it's properly
exposed while everything else goes
dark. And that's the perfect effect for
this picture. The way the earring echoes
the golden tones upper right is superb.
Without the earring, your photo would
still be good. But WITH the earring, it's
cranked up a notch and becomes quite
mysterious and artistic.
The complementary colors of blue and
orange create a lot of drama.
And finally the angles of the sculpture as it swings into the photo create lots of movement and
encourage our eye to move along with those angles, running on a diagonal from lower left to
upper right. Wonderful.
If only there had been more blue water where that bit of land is on the right. Not only would
your sculpture stand out even more than it does, but it would simplify your photo considerably,
thereby creating more drama and tying everything together. The land blocks up the picture and
interrupts the feeling of movement. Alas.
Still, you handled the shooting challenges incredibly well and composed the photo perhaps as
well as you could given what you had to work with. It's easy for me to say "lose the land" when
I wasn't there to see what you had to deal with. In a perfect world there'd be nothing but
glorious water and reflections behind this sculpture. Ah well. You should still be pleased.

3 SPRINKLER RAINBOW (I lost this photo when my computer crashed. It wasn't great anyway. Imagine a shot from the condo looking at the sprinklers watering the grass of the 15th fairway creating a rainbow in the water from the early morning sun hitting the water. Beyond the fairway is the lake, then far away condos that Carol refers to in her critique, then palm trees and San Jacinto.)

It's these little miracles of light that, to me, make photography so
rewarding at times. Your rainbow is very pretty and I like the overall
scene. Your greens are good, the water's a good color blue, and I like
the strong shadows you've got in among the trees as well as stretching
across the green in front of us.

What's not working for you are
the brightly lighted houses and
mountains across the way. When
the picture first comes up, my eye
goes immediately to the lightcolored
houses and then up to the
background mountains. Only then
do I return to the rainbow. But
you took the photo BECAUSE of
the rainbow, and to have it
become the third-strongest
element in the photo means it
doesn't quite work.
What could you have done
differently? Probably nothing! It
would have been great to maybe have nothing but trees across the way, or an expanse of
something really dark so that the rainbow would stand out very colorfully and strongly. So is
there a way in Photoshop that you could achieve this same look? Is there a way that you could
create a second layer and, on that second layer, darken down the mountains and darken down
the houses? I'm sure there is, but would it really be worth your time? Nah, I don't think so.
Luckily, there will always be more rainbows in your life. :-)
Thanks, Linda, for posting these shots. Your sculpture photo is by far the best of the bunch. It
might even be worth a re-do sometime to see if you can change your shooting angle somewhat
to get rid of that little piece of land on the right. The lighted earring? Brilliant.
Carol Leigh
November 7, 2008


In an email I wrote back to Carol:
Thanks for being so kind Carol. I was really afraid you were going to rip me a “new one”. I didn’t spend much time on taking these photos and regret that.

I love your around the block photos. Thanks for sharing them. Wish I’d seen them before though. I need help on ideas. I’m not very creative…..YET!

Great online class. You are the best teacher!

Linda

Then Carol wrote back to me:
You know what? I don't really care if your photos are bad (well, I
sort of do, but bear with me). What I really care about is that YOU
know your photos are bad! Knowing when your pictures are less than
wonderful is a HUGE step in our photographic process. Sure, our
friends, our parents, etc. are going to tell us we're wonderful, but
WE really need to know, down deep in ourselves, when our stuff's good
and when it ain't. And that comes with practice and with comparing our
work with excellent photography.

I could tell that you were rushed with the golf course shots . . .
Maybe you should take up butterfly photography -- you seemed to do
really well with that! :-)

Carol Leigh



In order to understand Carol's reference to my taking up butterfly photography, there was a mixup. Carol thought she was critiquing my Around the Block photos when in fact they were another student's Around the Block assignment containing a butterfly photo!

5th Class Assignment Critique - Red, White, Blue

CRITIQUE: Linda Jeffers
Red, White, and Blue
BOAT BOW
You took something rather mundane, Linda, and
created a little jewel, which is kind of the point
of all my online classes -- look around you, find
something, and compose it as best you can. In
this case, you isolated a part of a boat and filled
your frame with strong lines and bright color.
What was working against you (and I know,
because I was there) was harsh sunlight. From
the shadows it looks as though the sun was pretty
high in the sky, which is traditionally a tough
time for us to be
shooting. But in this case,
the bright sunlight and
the angle of the sun
created a relatively bold
shadow under the blue
crosspiece, which adds to
your composition in that
it echoes the stripe of
black paint in the lower
third of your picture.
Your shadow is dark
enough to be bold, yet light enough so that we still see the boat detail within it.
I like how you offset the vertical piece of wood -- it's over in the left third of the frame rather
than being centered. Nothing wrong with centering it, which would give a feeling of symmetry,
but I also like this offset look.
A large challenge here was metering. The lightest part of the image is the bit of white on the
right side. If your camera meters for the blue or for the left side of the boat, that bit of white on
the right is going to be very overexposed. I think that you came very close to having that
happen, but nope, we can still see some detail in the white, so all's well. Good shot.

ART

Ha! "I don't know anything about
ART, but I know it when I see it!"
This is a good example of red/
white/blue, with your clean, crisp
colors. But what happened here is
exactly what I was talking about
in your previous shot. Your
"ART" is perfectly exposed. But
because the red paint is darker
than the foreground mooring
lines, your camera exposed for
the dark red and the mooring lines
are blown out, way overexposed.
This happens to us all the time. Luckily, since most of us are shooting with digital cameras and
we have access to histograms and LCD screens that blink when we overexpose, we have superb
tools now at our disposal that we film shooters never dreamed of.
I know you know this, but it bears repeating. Whenever we encounter bright, sunny situations
and a lot of light colors, it behooves us to check our histogram after every shot. I've got my
camera set so that when I click the shutter, the histogram automatically comes up. I rarely look
at the image on my LCD screen, but I try to always check the histogram. If the graph is
touching the right side (the light side) of the histogram, I know I've overexposed. If I see
blinkies here and there -- huge clue that I've overexposed. And then the solution is to use my
exposure compensation dial and take another shot, this time perhaps 1/3 or 2/3 stop under (-1/3,
-2/3). Check the histogram. No blinkies? The graph is backing away from the right? Then I'm
good to go. Oops, don't forget to set my exposure compensation dial back to 0.

REFLECTION

I can see why you were attracted to this, and I
think I might have taken photos of this same
reflection. I, too, was taken by the red, white,
and blue colors. Did we succeed? I'm not
super-pleased with mine, and, in a second, I'll
go find the shot, prep it, and will include it
here so you can see . . .
The tough part about photographing this
reflection was that first of all, it was
constantly in motion. So to try to focus AND
come up with a dynamic composition was the
real challenge. It was frustrating to focus on
what I thought looked good, only to have it
shape-shift away and lose the focus as well as
the design.
(I couldn't copy and upload Carol's shots she used as an example. Sorry.)
Well, no, my
photo is not of
the same
reflection as
yours. But it’s
still bad, as you
can see below.
Yes, the colors
are good, but
where’s the
design? Where’s
the line? Why
did I put the red
thing right in the middle? And, importantly,
why did I keep the darn thing? :-)
Regarding your photo, there are two things
working against it. The first is the overall
dullness of the colors and the water. The red and the
blue is very good; the white is more of a cream and the
overall water looks sort of beige. This can be lightened
and brightened in Photoshop with relative ease.
But the other thing that's not working is that there's no
real pattern nor design, no focal point, no place where
we begin and end our visual journey around the frame.
As a result, we just sort of want to move on.
So, what's the difference between an abstract reflection
that doesn't work and one that does? I added a second
reflection shot of mine (below) that I like because the
reflections are bold and crisp, but there’s also a sort of
blocky design that I like — red lower left, dark block to
the right, darker block upper right, and lighter block
upper left. To emphasize this blocky look, I should crop
in from the left, getting rid of the blue color, as you can
see in the very bottom photo.
Thanks for posting these — very much appreciated.
Carol Leigh
November 1, 2008
Here I adjusted Levels in
Photoshop . . . (Again, sorry about not being able to show/upload Carol's example.)

In response to Carol's critique, I sent the following email to her:

Wow Carol. Did I get a lot from your critique.

First of all in my second shot “ART”, you are correct, I do know how to look at the histogram, but haven’t been looking at it I’ve been so concerned with focus. I forgot
Secondly, I never even noticed the mooring lines being overblown! Hmmm. Don’t know where I was while prepping this photo.

And the 3rd shot of the color in the water, I looked for a design, a pattern etc and knew the composition was lacking something. I tried cropping this way and that but never felt anything looked right. So I see I need asking these questions you posed and posted on my critique using your photo as an example: “Yes, the colors
are good, but
where’s the
design? Where’s
the line? Why
did I put the red
thing right in the middle? “

I remember you repeatedly saying to take time, slow down (in Santa Fe). I think my new rule before taking a shot is to keep looking and asking myself questions before I ever take the shot. A little restraint. Yes, restraint has worked in other areas of my life big time, so why not in photography.

It was interesting yesterday. I hadn’t lately taken any photos for my Daily blog. The cloud formations and backlighting on the clouds over the San Jacinto mountains was breathtaking. I went out and shot off a few photos without thought before a phone call interrupted me and then the light had gone. The phone call was about possibly going to the Getty Museum to see a photography exhibit. So I went online and found an example of some of the photos at the exhibit. Here is the link to the blog photos I posted of the clouds I took on 11/1 …and the questions I asked myself secretly about why this guy’s cloud photo is featured in a photo show at the Getty. The “guy” is Alfred Stieglitz!!!!
Now I see there is no pattern to my cloud composition. That’s what had been bothering me. I hadn’t stopped to think about the composition. I liked the lighting but didn’t go further.

Long story short, you helped me answer a big question not only with the photos you critiqued but with why I initially began taking classes……..TO SEE! And I can’t see if I’m not slowed down enough to ask myself: What am I seeing, does it have design value or am I doing what I’ve done my entire life….recording/taking the photo for memory sake.

I think I may have had a mini psychic change. I hope so.

Thanks Carol. You always get me seeing, a little more, what I can’t see.

Linda

A couple hours later I received this email response to my email from Carol:

You know what's interesting, Linda, is that when you signed up for
your very first online class and you gave me your website address, I
could tell IMMEDIATELY from your pictures that you needed to slow
down, to take a deep breath and think before clicking the shutter.
Knowing that when I did, so early in the game, I feel I've been remiss
in not pointing it out to you often enough throughout the online
classes and in the two in-the-field workshops you've taken. Better
late than never, I guess, but yeah, I can remember the "this woman
needs to slow down" flash going through my brain from the very beginning.

This doesn't just apply to you, however. We ALL need to slow down and
think before we shoot. Why are we taking this shot? What do we like
about the scene? What's the light doing? Are there weird things in the
background? Are there ugly hot spots that will ruin the picture?
Where's the movement in this scene? Am I including too much? Not
enough? Would this be better as a vertical? What's my ISO? Is my
exposure compensation dial accidentally still set to 3 stops
underexposed from the last shot? And much, much, more . . . Sometimes
I'm amazed we ever get around to clicking the shutter!

Carol Leigh

I'm still taken back by how much Carol opened my eyes to how my character/personality traits are everywhere, even in my photos. I feel like I'm wearing a new pair of glasses today. This is Good!

Photos I took in Half Moon Bay and just submitted.

Last week Ray and I were on the go non stop. Wednesday we drove in to the San Fernando Valley where I spoke. We spent the night over and Thursday, also in the SFV, we attended our home group meeting. Friday we attended the Just the Black Print Meeting Ray and I started here in Rancho Mirage. Then after the meeting we had dinner with some friends who driven out to the meeting. And Saturday we again drove in to the SFV to attend a friend's 20th birthday. All last week I felt sick but now I'm home really sick with a full blown cold.

This week's schedule was on the heels of having been away 8 days up in Half Moon Bay attending a loosely structured class with 11 other students, Norm and our teacher, Carol Leigh. Our assignment was to photograph the character and feel of HMB. By the way, I had an incredible time setting up my tripod and camera at 5am to shoot the setting full moon and later rising sun. The Beach Hotel where I stayed had a balcony that suited my early morning shooting needs without having to go out into the scary dark of the morning on the beach or pier.

I don't know how many photos I shot. Tons. We were told to select 20 photos for submission to our teacher. She'll take 3 photos from each students' submissions and put together a book. Thank goodness my computer waited to crash until I was home. (I am now the very proud and happy owner of a new T500 Lenovo IBM, a 20" Mac external monitor, Lightroom 2.1 and am waiting for Adobe Photoshop CS4 which is supposed to arrive this week. Lots of learning curves.)

Here are some of the photos I submitted:

Out on the docks, looking at Pillar Point Harbor Pier.

Silver pumkin outside the Mill Rose Inn B&B.

An attempt at photographing color at a local pumpkin farm.

Looking back at the Beach Hotel where I stayed.

So many students photographed great shots at the many pumpkin farms. We had great sunny days, but had hoped for clouds which make for better photos. This was a another attempt at a pumpkin festival shot.

This was one of the first shots I took before sunrise. I'd never shot with so little light before. Pillar Point Harbor.

We all called this Norm's Pier. I don't know the real name of it. It's located at the northern end of the Half Moon Bay Beach. This was the first of two times I visited this pier for sunset shots.

Early morning shot looking north from my balcony at the Beach Hotel.

Reflections of dock pilings at Pillar Pt. Harbor.

A wider view of the dock.

An uninteresting boat that caught my eye because of the light on it.

First full moon rise I've ever shot. I was so excited and focused on the moon, I neglected to notice and avoid a big ugly dock feature in the lower right hand corner of many of the other photos.


First time I ever shot a setting moon. It's hard to not blow out the moon and retain detail.

A point at the northern most beach of HMB.

A view of the house at the end of 'Norm's' Pier.

Another moon shot over a hotel along the shore in HMB.

Pigeon Point Lighthouse. I arrived and started shooting a half hour before sunrise. As with all these shots, I used a tripod.




I turned around and shot the rising sun. Can you see two of my classmates?

A shot of the lights of the northern most land and naval equipment.

Ocean beach bluffs photographed on my return from Pigeon Point Lighthouse around 8:30am.

Shot seconds before the sun rose.

I was asked by my doctor if I'd bring in two framed photos from this class to hang in his office. Which two do you think would be best together?