This is a cityscape panorama across Sarasota Bay. To create this I took three vertical images using a 55 mm lens and then stitched them together in Autopano Giga. The reason I did that rather than use a wide angle lens is it creates a realistic view of the scene whereas wide angle lenses tend to distort the sky. Each method has its use.
My guess is that these sailboats are in a mooring field. There is another mooring field on the other side of that bridge just out of sight. That one is busy but this one seems to be long term as I've seen the same sailboats sit here for years.
The day was a little hazy but the clouds added an extra dimension to the sky. These types of scenes, urban panoramas across the water, represent a technique I find appealing. Sky and water frame a cityscape and create a different perspective. It's a little like looking down from an airplane only in this case we're looking across. I have a coffee table book I'm working on called Sea and Sky; it has a few images like this.
Another thing I like about these stitched-together panoramas is that the image is very high resolution. That's good for two reasons; it allows the viewer to zoom in and explore the details and, it can be used to create large prints. This resolution of this image can produce a print that is six feet across without losing detail. That makes it suited for large spaces like offices or hallways.
In a few years camera sensors will capture more detail than they do today. Actually these already exist but are specialized for surveillance and mapping. However soon even landscape photographers like myself will have them. And when that happens we'll be able to pass the time just exploring the details of a scene like this on someone's large wall.
As the name implies, the Cliff House restaurant is atop a cliff overlooking the pacific. This is a long exposure I did a few months ago. I came back about a month later and each time I was lucky enough to see a good sunset. As a result I have a tonne of pictures from every angle and many of them like this taken long after the sun went down.
I used to shoot film and photos like this were impossible. You might get close but it was trial and error and required precise measurements, settings and calculations of exposure length. Now in the age of digital I can have images like this in a matter of minutes and know exactly how it turns out. So it's no wonder people like me love shooting in low light. It's a relatively new phenomenon in the age of photography.
Speaking of cameras and the age of photography, that giant camera at the edge is a Camera obscura. The idea was first used in the 1600's as a painting aid. It's an ancient device that employs the same principal as a pinhole camera by projecting a reflected image on a wall or table. Here is a reference to it on wikipedia (https://en.wikipedia.org/wiki/Camera_obscura).
I wonder if cameras will become obsolete in some future timeline of ours. They have come so far in a few hundred years and things are not slowing down. Maybe our eyes will get replaced with hi-definition sensors and view screens and then we can choose to save images or share with others in a virtual reality universe.
Would the people that invented the Camera obscure recognize the cameras of today? In that same vein then I will not recognize cameras a hundred years from now. Given where we are headed with sensor tech and VR, perhaps my idea is not so far fetched.
Here is a group of people watching as a pod of dolphins pass by Emerson Point. I was too busy composing my shot and only when I got home did I realize they were watching dolphins. If you click on the photo and zoom in you can see them just offshore. These highly intelligent animals are common in Florida so sightings are not unusual.
Whenever we have visitors come to Florida we hope they get to see dolphins. It seems that if you're looking for them they don't show, but they're always around when you're not.
I barley made it here in time to take the photo. I couldn't make up my mind whether I should go out. I procrastinated and then decided to go at the last possible moment. To make matters worse I was rushing to get to the shore and then got stuck behind a couple of slow cars. When I got here I only had about five minutes to get a few shots. As I looked for compositions I saw this group and stood behind them as they gazed westward. In the end I captured a few images that I was pleased with.
All of the apparent nonsense, from slow drivers to my own indecision were for nothing. Often when I'm rushing, things don't work out the way I think they should. The trick with landscape photography is to go with the flow. It's easier said than done but things work out anyway. That's what I've noticed over the years and it reinforces my idea that photography is reflective of a state of mind.
Only later did I think about how it all transpired. The whole experience was for me a lesson. One that I'll try to remember the next time things get a little more rushed than they probably should.