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Park View

I suppose these cabins are the equivalent of the apartments that surround Central Park in New York City. Only, this namesake park is floating thousands of miles away.

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Park View
A wide-angle view of Central Park onboard Royal Caribbean’s Symphony of the Seas

I used a 12mm wide-angle lens for this shot which it makes the foreground appear bowed. I also used a Platypod to anchor the camera to a railing for a long exposure. This is the first time I’ve not taken a tripod and relied solely on the Platypod. In retrospect, it was a good call.

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These spaces on the boat were designed to resemble neighborhoods. It’s obvious a lot of thought was put into it because, at least for me, that’s what it felt like. You could hang out in a different one depending on your likes. For some reason, this one, surrounded by apartment-like cabins, was the one I hung out in. It created a perfect illusion that, for the length of the cruise, kept reality at a safe distance.

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Oscar’s Swells

This simple image is a long (one second) exposure from the side of a ship. These are swells from hurricane Oscar that was over a thousand miles away.

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Oscar's Swells
A one-second exposure of large swells in the Atlantic ocean.

The captain took us south to avoid the worst of it, but for about two days we saw some impressive swells, more massive than these. Even the largest cruise ship in the world will rock in these conditions. The swells hitting the side of the boat sounded exactly like waves crashing on the shore. It was relaxing, and for two nights we slept with the balcony door open so we could hear the soothing sounds.

To make a one-second exposure in daylight, I set the aperture to f40. That’s a tiny aperture, maybe the smallest I’ve ever used. An F-stop higher than 20 does not have a lot of practical uses, but long exposures are one. One second is long enough to make an in-camera motion blur effect without resorting to photoshop tricks.

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Maybe this is a dull image without a central subject. It’s more texture or pattern than a photo. Even so, it reminds me of the gentle sounds the waves made all through the night.

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Symphony Sunrise

For a photographer, crossing west over the North Atlantic has its advantages. For one, the sun always rises from the stern. Knowing which way to walk on a ship this big is a good thing.

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Symphony Sunrise
Sunrise over the North Atlantic on RCCL’s Symphony of the Seas

The Symphony of the Seas is such a big ship that at first, it can be difficult to get oriented. The first few days I’d walk to the Windjammer only to find I’d gone the wrong way. But then, walking an extra half mile before hitting the buffet didn’t hurt.

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Another advantage is that the days have twenty-five hours. Each night we would set our clocks back one hour. And because we were sailing during the daylight savings cutover, we had one additional long day. As a result, I found myself getting up earlier each day with enough time to walk to the back of the ship without getting lost.

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Water and Clouds

My favorite thing about the trip across the Atlantic was the open sea. For over a week there was nothing but water and clouds.

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Water and Clouds
This is the main sight in the middle of the Atlantic Ocean

When we booked the trip, I wasn’t sure what eight days at sea would be like. Now, I would do it again in a heartbeat. The entire time we did not see land, another boat, or a plane. It was an opportunity to detach from all land-based frames of reference.

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On the final day before arriving at Port Canaveral, we began to see planes in the sky and seabirds. It was the first signs that home was not far off. It’s nice to back on the ground, but at the same time, it was nice to have a glimpse of a perspective where all the familiar references were not there.

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Colors on Deck

The Symphony of the Seas has a bold color palette. There are vibrant, saturated colors in outdoor spaces and stairwells; so if you’re sensitive to that type of thing, you might need to wear sunglasses, even at night.

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Colors on Deck
Nighttime view of the deck of Symphony of the Seas

It’s a lot of fun, and I enjoy the tapestry of hues hitting my retinas at each turn. Don’t get me wrong; it’s not gaudy, rather a tasteful sampling of one-of-a-kind art, murals, and tiles. In my photography, I’m a reformed over-saturation addict. The colors on board this ship are a real temptation for me.

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I’ve desaturated the colors in this image. The original is so loud it looks fake. Anyway, I even considered a monochrome version. But, this is a post about colors so the monochrome version will have to wait.

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Evening in the Park

The other night we hung out in a tree-lined park with outdoor cafes and listened to live music by candlelight. And to top it off, we were a thousand miles from land.

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Evening in the Park
The scene at night in the Central Park neighborhood on board Symphony of the Seas

The Symphony of the Seas has six neighborhoods, and Central Park is my favorite. There are upscale restaurants with outdoor seating. At one end is Vintages, a wine bar where somehow, I end up at least once a day. In the afternoon, there might be one or two patrons, and you can sit at an outdoor table, and watch folks stroll by.

more night photography from the gallery

There are way too many choices; neighborhoods, restaurants, nightclubs, sports, shopping, and bars. Speaking of which; there are at least sixteen different bars, and I had a plan to try each one. I’m only halfway through, and it’s not looking like I’ll hit the goal. But rest assured, it’s not for lack of trying.

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Leaving Miami

Taking pictures from a ship is like standing on a tall building. The vantage is nearly as good as a drone but without the need for an FAA license.

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Leaving Miami
The view of Miami Beach from the deck of a cruise-ship leaving port

I took this onboard the Royal Caribbean’s Enchantment of the Seas as we left Miami on a three-day cruise. There were high winds on that voyage, and we had to skip one of our ports. The other port was Nassau where we did dock safely and enjoyed a day exploring.

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Perhaps because of the rough conditions, I got a few good photos using the perspective of the ship that I wouldn’t usually get. Then, on the final morning, we arrived back here to Miami at sunrise, and I got a few last photos from the top deck. After that, it was back to ground level.

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Night Scene in Lepetane

This was the night scene in Lepetane Montenegro as we passed by on a ship. We were leaving the port at Kotor and passing through a narrow channel lined with houses on each side. We could see people sitting on their balconies watching as our ship passed by on a warm summer evening.

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Night Scene in Lepetane
Night Scene in Lepetane Montenegro

To me the scene was like a painting; so I decided to process the photo with that idea in mind. I used Topaz Studio to create an impressionistic rendering and then blend it with the original photo. While the image now looks like a painting, in some places it’s more realistic. It plays a little trick so we are not sure which it is, however it’s a little of each.

It’s amazing that software can “paint” a scene from a photo. But course its called digital rendering and not painting. Yet the software can be configured to use all manner of brush strokes, paint volume and even mimic styles of the masters. This is a case where computers are approximating art; which for me is amazing.

more night photos

The image represents an impression of a small coastal village at night, which for me is how I remember it. In my mind this type of rendering creates a feeling of the place that is easier to recall than with the unaltered realism of a plain photo. Stay tuned, I’ll be experimenting more with this amazing technique in the coming days and weeks.