Sunrise, Scripps Pier

Canon EOS-1Ds Mark III__EF70-200mm f/2.8L USM__10.0 sec at f / 32__ISO 100

Here is another pier photograph from La Jolla.  This was my first session photographing the pier, and my previous post was taken at sunset on the same day.  For this image, I used my Singh Ray Vari-ND filter to extend the length of the exposure.  I waited for a wave to wash up near my tripod, and then watched for the reflection to develop as the surf pulled back.

Let me know your thoughts on this image, and which Scripts Pier image you like the best.  I prefer the sunset image, but still love them both!

Cheers,   Bill

One-on-One Instruction

Ebook Store

My ebooks are high res PDFs that can be viewed on your computer of course, but also on your iPhone or iPad via the Good Reader app.

Published by William Neill

William Neill, a resident of the Yosemite National Park area since 1977, is a landscape photographer concerned with conveying the deep, spiritual beauty he sees and feels in Nature. Neill's award-winning photography has been widely published in books, magazines, calendars, posters, and his limited-edition prints have been collected and exhibited in museums and galleries nationally, including the Museum of Fine Art Boston, Santa Barbara Museum of Art, The Vernon Collection, and The Polaroid Collection. Neill received a BA degree in Environmental Conservation at the University of Colorado. In 1995, Neill received the Sierra Club's Ansel Adams Award for conservation photography. Neill's assignment and published credits include National Geographic, Smithsonian, Natural History, National Wildlife, Conde Nast Traveler, Gentlemen's Quarterly, Travel and Leisure, Wilderness, Sunset, Sierra and Outside magazines. Also, he writes a monthly column, On Landscape, for Outdoor Photographer magazine. Feature articles about his work have appeared in Life, Camera and Darkroom, Outdoor Photographer and Communication Arts, from whom he has also received five Awards of Excellence. His corporate clients have included Sony Japan, Bayer Corporation, Canon USA, Nike, Nikon, The Nature Company, Hewlett Packard, 3M, Freidrick Grohe, Neutrogena, Sony Music/Classical, University of Cincinnati, UBS Global Asset Management. His work was chosen to illustrate two special edition books published by The Nature Company, Rachel Carson's The Sense of Wonder and John Fowles's The Tree. His photographs were also published in a three book series on the art and science of natural process in collaboration with the Exploratorium Museum of San Francisco: By Nature's Design (Exploratorium / Chronicle Books, 1993), The Color of Nature (Exploratorium / Chronicle Books, 1996) and Traces of Time (Chronicle Books / Exploratorium, Fall 2000). A portfolio of his Yosemite photographs has been published entitled Yosemite: The Promise of Wildness (Yosemite Association, 1994) which received The Director's Award from the National Park Service. A retrospective monograph of his landscape photography entitled Landscapes Of The Spirit (Bulfinch Press/Little, Brown, 1997) relates his beliefs in the healing power of nature. William has taught photography since 1980 for such prestigious organizations as The Ansel Adams Gallery, the Friends of Photography, Palm Beach Photographic Workshops, The Maine Workshops and Anderson Ranch Workshops. He specializes in landscape and nature photography and is concerned with conveying the beauty seen in Nature. Currently, he teaches online courses for and One-on-One Workshops in his home studio near Yosemite National Park.

15 replies on “Sunrise, Scripps Pier”

  1. Hi Bill…I’ve been stalking you on Facebook for a while now, but wanted to comment on these shots. I love both of them, but the color of the sky in the first one really captivated me – what a beautiful image!

    Thanks for your continued great posts! And like others, I appreciate the insight offered re: setting proper night exposure – looking forward to trying out this little trick.



  2. Hi Bill,

    These are amazing images! Sent you my version of the same captured at night. These images have prompted me to go back and try my luck during the morning hours, and using a similar long exposure method, in the evening, too. Lucky to live so close to an actual La Jolla ‘icon’, — the pier! Thanks again for sharing!

  3. Sunset. I love how the long exposures smooth things out. I’ve been using an 8-stop nd with polarizer now for a little while and it really makes me take a new look at some scenes that I would normally just use the polarizer on, getting 20-60 second exposures even during the day (overcast). I often shoot scenes both ways now, and almost always prefer the longer exposure with the nd. Probably just a phase, but it gives others something new to look at and enjoy, like yours…

  4. Hi Bill,

    Both are graphically striking and I think the overall light is better in the sunset image but, I think the sunrise image has the edge.
    For me the sunrise image has a wonderful shift that encompasses a great deal. The tone shifts from the light on sand with its striking reflection to sun on the water and wood. I find this change visually delightful, capturing the beauty of good light and a dramatic reflection with a wave softened by time but clearly visible. My eye emerges from the cool light beneath the pier into warm sunshine. The quality of the light and the blending from dramatic to familiar is very successful. I feel like I am standing right where you were and my eye just keeps exploring this photograph.
    Great image!

  5. Bill:
    I really like the first one. I love the complimentary tones in the colors and there is just a quiet reflective tone to the shot. And forgive me for giving the master a suggestion as you probably already know this but there is a good math trick for calculating the night exposure.

    Set the camera to the highest ISO and open the lens to the wide open f-stop, with +1 exposure comp, no NR, and average meter mode, and shoot a test exposure. So for example an ISO of 3200 at f4.0 might render an exposure of 10 seconds on a night shot. Check the histogram and it should be pushed to the right. Take the 3200 and divide by you final ISO and multiply by the 10 seconds. So 3200/200 = 16 x 10= 160 seconds for the exposure. Turn on NR for the shot. It works great.

    I apologize if you already know this.


  6. Hmmm, tough call but I think for me there is just something a little extra about the dynamics of the light playing across the pier and the movement in the water in this one. This one seems to just suggest something more playful is waiting for you just outside the image. Both are fantastic though.

Comments are closed.