jetBlue announces non stop service from San Francisco to Fort Lauderdale

by Scott Carmichael on

In a way, airlines are like kids on their first week of school.

When one kid shows up with a Dawson’s Creek Trapper Keeper, all the other kids head out to the local school supply store to get their own (bonus points if you get that reference).

Kids compete with school supplies and cool backpacks, airlines compete with fares and route networks.

Earlier today, Grant reported some great news from Virgin America – the announcement of their new Los Angeles and San Francisco to Fort Lauderdale route (forgive the giddiness, but anytime Virgin America expands its route network, I smile a little more, secretly hoping they’ll be heading to Chicago soon).

The day isn’t even over, and the next airline has decided they want to play along. Starting November 17th, jetBlue will be flying the San Francisco to Fort Lauderdale route as well.

The airline will be flying one flight each way every day. The San Francisco to Fort Lauderdale flight departs SFO at 11:30 pm and arrives the next morning at 7:30 am. The other way around departs Fort Lauderdale at 7:15 pm and arrives at 10:35 pm. Pretty convenient schedules if you ask me. In fact, with a little creativity, you’ll be able to fly up and down for a day on the beach in under 24 hours. Fort Lauderdale also means passengers can transfer to another jetBlue flight and head towards the Bahamas and Puerto Rico.

A flight on jetBlue means free live satellite TV, free drinks and snacks and of course their $40 “Even More Legroom” upgrade option. The service on the overnight flight even includes their “Shut-Eye” service, featuring earplugs, an eyeshade and a hot towel service when you wake up.

Through the Gadling Lens: seeing the light

by Karen Walrond on

When you’re first starting out in photography, you’re likely to read, or hear, or have told to you:

“See the light. When you can see the light, you’ll be a great photographer. You just have to see the light.”

Many times, I’ve had new photographers retort with exasperation: “God, I hate that. ‘See the light.’ What light? There’s just light! I see it! What are they talking about? How do you ‘see the light’?”

In many ways, the exhortation to see the light is one of those things that, annoyingly, you’ll understand it when you finally see it. But basically, what you’re trying to do is not just acknowledge that the light exists, but really notice the quality of the light — is it golden? blue? white light? Is it coming in at an angle? Is it merely ambient light, or tightly focused? Are there shadows, or reflections? Once you’ve assessed the light, you can adjust your camera ISO, white balance, aperture and shutter speed accordingly, to capture the light and image as authentically as possible.

For tips and a refresher on how to adjust your camera’s settings, click here. However, for an illustration of the various types of light, and how to maximize what it does to your images, read on.
1. Light

First, let’s just take a look at light:

Sunsets are obviously very popular subjects, and for good reason — the light is very easy to identify, and it’s easy to see what the light is doing. What makes the shot shared by RuthannOC, above, such a great shot is not just that it captures the colour of the sunset — certainly the most striking aspect of most sunsets — but you can also see the rays of sunlight coming out from behind the cloud. The light here is very easy to see, and therefore make the resulting image a great capture.

This photograph, shared by Jon Rawlinson, is another great example of how being aware of the quality of the light and capturing it accordingly can result in a great shot. You’ll notice that this image was in the waning hours of the day, and judging from the cloud cover, I’m betting that there wasn’t much sunlight during the day. However, as the light got lower in the sky, the light was able to brilliantly illuminate the buildings, making them seemingly glow. In addition, the light is somewhat golden, which helps to establish the time of day.

The lesson to learn here is that even though you’re outside, the quality of the light can change throughout the day. Be very cognizant of what the light is doing, to maximize how you take your scenery shots.

This photograph shared by insEyedout is particularly spectacular, because he was mindful of how the quality of light changes and enhances the colours of the picture. Obviously, this photograph was shot at dusk — at just the time that lights are starting to illuminate the buildings. Incandescent lights tend to have a very yellowish hue (which is why, when shooting indoors, you might want to check your white balance to make the less yellow) — but in this case, the yellow light adds to the element of coziness in the feel of the image. Beautiful capture.

2. Shadow.

Obviously, different types of light can result in different types of shadows and silhouettes, which can also enhance your photos. The following are great examples illustrating how.

In this photograph shared by PDPhotography, the photograph is framed so that the window isn’t the only subject — the shadow it casts on the wall is included, too. This image was taken inside Alcatraz prison in San Francisco, and by framing the photograph this way, you can just imagine what it might have been like to be incarcerated inside, with the blue skies and freedom on the outside. The effect would not have been the same if PDPhotography had just shot the image through the bars — the shadow on the wall conveys the loneliness and the feeling of being convicted far more effectively.

One of the greatest things that shadows are able to do are convey the time of day. In this black and white photo, shared by Michael Joseph Goldst…etc, even though you can’t see the colour of the sunset, you can tell by the wonderful length of the shadows that this was taken late in the day. The photograph was clearly mindful of the light in this shot, since he made certain to capture the low sunlight in the top left hand portion of the image, as well as the length of the shadows to the lower right. Well done.


This spectacular image shared by t3mujin debunks one of the most common “rules” of photography: the one which says that you should always make sure that the light source is behind you, and you never shoot into the light. If t3mujin followed that rule, he would’ve never captured the wonderfully moody image you see above. Remember that when you have a person in your shot, you don’t always have to be able to make out their face or features — sometimes just having them in the shot in full silhouette conveys the ambiance of the shot in a way that shooting their faces full on might not be able to. This shot is one for printing and framing.

3. Reflections.

In addition to light and shadow, light can be captured by virtue of reflections, which can often result in a really compelling shot. The following three images are good examples. Just remember: turn off your flash.

The image shared by Buck Forester is sort of the classic reflection image — the wonderful mountain vista reflected in the water below. This image is actually a bit more difficult to capture than you might think: after all, when you’re in a beautiful setting, you’re often so captivated by the mountains and the treeline, you’ll likely forget to look into the water for the reflection.

The trick to these images is to be sure to look through the viewfinder carefully, and really see what you’re taking the shot of, so you can be sure to frame it to include the entire reflection. Also, this obviously works best when the water is exceedingly still.

This fantastic shot, < a href="http://www.flickr.com/photos/moody75/3387524541/">captured by Moody75 is such a great reminder that you don’t need to have a body of water to capture a great reflection — he was able to get a wonderful landscape of the entire city of Barcelona in his companion’s sunglasses. Talk about capturing the beauty of a city and the feel of a vacation all in one.

It’s nighttime, it’s raining — the temptation would likely be overwhelming to put your camera away. But this shot shared by mingthein shows why you might want to hang on to your camera a little longer. While you could never get the sharpness of the reflection that you can in Buck Forester’s daytime shot, above, wet streets at nighttime can make for a beautiful reflection of the lights on the street above. Again, remember to turn off your flash and steady your camera before taking a shot like this one.

So remember: see the light. If you have any examples of how you managed to see and capture the light, please share your links to your images, below. And as always, if you have any questions, you can always contact me directly at karenDOTwalrondATweblogsincDOTcom – and I’m happy to address them in upcoming Through the Gadling Lens posts.

Karen is a writer and photographer in Houston, Texas. You can see more of her work at her site, Chookooloonks.
Through the Gadling Lens can be found every Thursday right here, at 11 a.m. To read more Through the Gadling Lens, click here.

Through the Gadling Lens: adding some oomph to your landscape shots

by Karen Walrond on

I was recently talking to a friend of mine, and he was lamenting the fact that his landscape photographs seemed a bit “boring.” “I look at all these other landscapes in the Gadling flickr pool,” he said, “and they’re so much more exciting than mine. What can I do to make my shots more compelling?”

To be honest, of all my photography, I struggle with making my landscapes interesting more than any other — shooting people is easy, I think. It’s really good scenery that’s difficult. And so I thought I’d go through some of the amazing landscape photographs in our Flickr pool, and point out some of their aspects that make them compelling. With some luck, some of the observations will help catapult us all into become the Ansel Adams-quality photographers we all can be.
1. Shoot with a relatively wide angle lens.

First things first: make sure that you’re using the right lens. As you probably remember, we discussed the various types of lens for various types of photography before — and the upshot is that if you’re shooting a landscape, you need a lens with a smaller focal length, rather than one with a larger focal length. For most landscape photography, I would choose a lens of, say 50mm or less. If you choose one much larger — say 100 mm — you’ll likely be disappointed how much of the scenery the lens crops out of the resulting image (although that type of lens is fabulous for portrait photography).

2. Consider focusing on the foreground.

Like many of you, I’m sure, when I’m taking a photograph of a landscape, I tend to focus on the horizon, figuring that it makes the most sense: “looking out there,” after all, tends to be what we do when we take in beautiful scenery.

However.

In looking through the Gadling photo pool, I’ve noticed that there are some photographers who, when taking their amazing shots, focus instead on the foreground, rather than the horizon. And as I think about it, this seems completely logical: after all, when we look out at a vista, our eyes naturally see all of the details closer to us, and what’s farther away isn’t as detailed. Why didn’t I think of this?

The following are some great examples of what I mean:

The two photographs, above, were shared by arex and shot in the San Francisco Bay area (as is likely obvious by the iconic Golden Gate Bridge in the background of the second image). Notice how, in addition to using a wide angle lens, arex focused on the details in the foreground: the foam of the advancing wave in the first picture, and the bubbles of the retreating wave in the second? By focusing in the foreground, arex added a wonderful depth to the image, which conveys how beautifully vast the vista was. If, instead, arex had focused on the horizon, I don’t think the image would’ve been nearly as impactful.

3. Add people to the foreground, to help emphasize scale.

Sometimes, when you take a shot of a beautiful vista, it can be difficult to really communicate how vast the scenery is, or how massive the mountain, or how expansive the ocean. One great way to express the impressive nature of your shot is to place someone in the foreground for the purpose of scale.

Here’s what I mean:

See how the figures in the foregrounds of each of the images shared by jlaceda and Buck Forester, above, show the scale of the scenery behind them? I love how huge the view looks behind the person in the first image, and I really love how the figure in the second image has his back to the camera, and indicates toward the view: this sort of stance helps direct your focus, rather than compete with your attention as it would have had he faced forward. Beautiful work, both.

4. Consider using a novelty lens.

Novelty lenses can be considered more of an extravagance than a necessity; however, they can add wonderful dimension to a landscape shop. I’m a fan of the Lensbaby, a series of lenses designed for SLR cameras that can help you “selectively focus” on certain aspects of your image, leaving the remaining images deliciously out-of-focus. Here’s are a couple of great examples:

Both of the above images were shot and shared by ashcrowe, using a Lensbaby lens. Notice how there is a portion of each image that is in sharp focus (known as the “sweet spot”), while the rest of the surrounding portions of the image increasingly blur? The result is a lovely nostalgic effect, which plays beautifully to the antique subjects of the photographs, and makes for a compelling landscape photograph. Great work.

4. And finally, don’t underestimate the power of Photoshop.

Or, for that matter, any post-camera processing software. I’ve discussed before how I believe that post-camera processing is a tool for conveying exactly what the photographer was experiencing at the time of the shot, and I really believe that this sentiment is never more true as in the realm of landscape photography. In fact, when it comes to landscapes, I’m far more likely to really go to town in using photoshop, because it helps convey exactly the type of mood I was in, or the emotions I was feeling at the time of the shot. And the following are wonderful examples of exactly what I’m talking about:

The really fabulous shot shared by crafterm in Tasmania, Australia is made only more stunning by his processing treatment post-camera. The boat sitting on the still water is quite old, and as crafterm says, “I’m sure it could tell quite a few stories judging its age and use.” He further makes his point by treating the photograph in a sepia tone — as a viewer, the image looks very vintage and classic, as well.

And finally, I really love the image above shared by B
ryn Tassell of the coastline on Vancouver Island. The photoshop treatment makes the entire scene other-worldly, not to mention conveys the absolute stillness of the water at the time of sunset. An absolutely amazing image.

Hopefully you find the handful of tips above useful in keeping at the back of your mind next time you’re out on your intrepid travels, and are capturing images of the stunning scenery. If you have any additional tips or images to share, please do so in the comments below. And as always, if you have any questions, feel free to send them directly to me at karenDOTwalrondATweblogsincDOTcom. I’m always happy to answer them here on Through the Gadling Lens.

Karen is a writer and photographer in Houston, Texas. You can see more of her work at her site, Chookooloonks.
Through the Gadling Lens can be found every Thursday right here, at 11 a.m. To read more, click here.