Simply put, this shot wouldn’t have happened had it not been for the smooth Australian stylings of top mate,. A small group of us photographers, including and , came to Seattle for a weekend of mayhem and shooting. To kick things off, Jacob wanted to get us access to what turned out to be one of the most beautiful views of the city. He can be a nice guy when he puts effort in it.
The problem is that getting to this view is strictly prohibited and access is seemingly non-existent. Still, not to be deterred by such meager technicalities, we decided to roll the dice and take our chances. True to form, we were quickly approached by a security guard who was clearly prepping to have us leave the premises.
And that’s when Jacob went to work. Like a champ, Jacob laid on the Australian accent and verbiage nice and thick. A lot of Please, Thank you, and G’Day! words spewed out of Jacob’s mouth. I think he may have even batted his eyes a few times. The guard was no match. The Aussie prevailed. We toasted with huge cans of Fosters (Australian for beer).
Despite my jest in telling the story, there is a lot of truth in what happened and why we did eventually get access to this amazing view. We only had about 20 minutes to get our shots, and we all used those minutes with precision – each walking away with images that we’re truly proud of and all because of a little composure and a lot of kindness.
You can check out the renditions of this skyline view taken by my cohorts here:
In terms of processing
Given that all four of us were photographing the exact same scene, standing only a few feet apart from each other, I wanted to see how I could set myself apart. I think that is an integral concept to always keep in the forefront of your mind, especially when shooting around other photographers.
To that end, I shot six single exposure images with my Canon 70-200mm lens – panning from left to right and then stitching them together using Autopano Giga (http://bit.ly/J0vH7n).
I then stylized in Perfect Effects 3 by, including the Havana and Moulin Rougeeffects to give the skyline a more sinister feel. Final touches were applied in Lightroom 4.1RC.