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Brendan Nagle

@naglefeed

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Funny American 🇺🇸 Nature Lover 🌊 Storyteller📸 In Hawaii 🌴
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Salve, Italia! For the Hawaii beach sunsets, I didn't shoot uncompressed—the filters did the heavy lifting, so straight-out-of-camera JPEGs were all I needed. Traveling lighter across Italy meant leaving the filter kit behind, so I switched to raw for the duration. Shooting uncompressed saved enough dynamic range in this frame to pull back the golden highlight gradients and balance the shot in post. Fujifilm X-T4 + XF 16-55mm f/2.8 R LM WR 50mm | f/2.8 | 1/250s | ISO 800 Exposure insight: I bumped ISO to 800 here, thinking I'd save the figure and foreground, but I've since learned that on modern ISO-invariant sensors, staying at native ISO 160 and lifting shadows in post can retain clean shadow detail while saving ~1.5 stops of extra sky highlights from clipping. If you have experienced similar, or have any other thoughts on this and my sunset series, I'd love to hear them. Grazie e arrivederci! by @naglefeed
3
a month ago
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Storytime: I booked the wrong international connecting flight. Rachel and I were passing through the UK, and while I picked the seat right next to her, it was on the flight an hour earlier. Luckily, our leg from Vegas landed 90 minutes ahead of schedule—giving us enough buffer to chill before I looked down at my new boarding pass and realized the discrepancy. While there was sadly no time to enjoy any proper English treats & tea in the lounge, rushing through the terminal was far better than being stranded at Heathrow for 24 hours with every follow-up flight completely sold out. There was a nice payoff, though... a spectacular sunset over the Dolomites as we descended. by @naglefeed
1
a month ago
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Heading to the airport midday meant this pale glow was as close to a Vegas sunset as I was getting today. Even with the sun still up, that desert dust creates incredible atmospheric compression between the Strip skyline and the Spring Mountains. I would have tried for a panorama if we were in a convertible... Guess where we're flying 👇 by @naglefeed
3
a month ago
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Here we go, 4x4 animal no pickle protein style! It has been far too long. Shot on iPhone by @naglefeed
2
a month ago
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Without a heavy haze layer along the horizon like yesterday, the sun's glory came through with full intensity. Choking the exposure prevented blowing out that vivid golden core, capturing the full saturation straight out of camera. A fitting last sunset from the beach in this series, as tomorrow some distant travel begins! Where do you think the sun will set next? 👇 by @naglefeed
1
a month ago
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Finally caught a frame with the bare sun fully intact, dropping as a pinhole of light on the horizon without the usual massive highlight blowout. Seeing the sun this crisp comes down to a few factors: heavy atmospheric haze along the sea line acted as a natural filter in lieu of a Reverse GND, knocking down direct intensity. Staying ultra wide on the XF 8-16mm (12mm full frame equivalent) shrank the disc down to a fraction of the sensor area, keeping the highlight contained while the cloud deck absorbed deep purple tones overhead. At a 1.7-second exposure wide open at f/2.8, the long shutter smoothed out the tidal flow while preserving the glass-like pools in the foreground reef. Shot on Fujifilm X-T4 | XF 8-16mm f/2.8 R LM WR by @naglefeed
1
a month ago
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More than just a few stray branches hung around after that Kona Low, driftwood and storm debris lingered across the sand for months. Most of it has cleared out by now thanks to beach sweeps or local cleanup, but for a solid stretch the logs along ʻĀweoweo almost outnumbered the exposed rocks. There’s a temporary nature to shooting the same stretch of coast week after week. A storm washes in a completely new view, tide drops to reveal another, then and a few months later, sooner than you know it looks back to normal. Without much to take from the sky, this shot is more about documenting a fleeting version of our beach before it shifted back. Shot on Fujifilm X-T4 by @naglefeed
2
2 months ago
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Shooting at the widest focal length and from my medically confirmed, definitely accurate height of six feet, the perspective shifts away from the immediate tide line and opens up the middle ground. After spending the last few frames low to the ground, dragging the shutter for mist, I went with a faster shot here to freeze the water's surface chop. That and I almost forgot to get the shot today, so I raced out the door without any gear. When the cloud ceiling has this much texture and dynamic color, plus such a distinct scattering of volcanic rock on the shoreline, dropping the horizon line works out nicely. Shot on Fujifilm X-T4 | XF 8-16mm f/2.8 R LM WR by @naglefeed
1
2 months ago
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This full-second exposure over churning shorebreak turned what started as delicate water trails into a thick, foggy soup as the incoming tide filled the frame. With the last few minutes of sunset shrouded by a cloudy horizon, the remaining ambient light should have supported a subtle mist around the rock shelf. Instead, the sheer volume and speed of the water transformed the exposed rocks into anchor points in a cloud. Working with moving water means constantly adjusting shutter speeds based on wave velocity, not just ambient light. A split-second faster here might have preserved directional wave lines, but the cooler post-sunset tones give this heavy blur an eerie appeal. Shot on Fujifilm X-T4 | XF 8-16mm f/2.8 R LM WR 1.0s at f/4.5 | ISO 3200 | No filters by @naglefeed
2
2 months ago
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See the rock on the right that looks like a pyramid? This shot was taken at a surf spot known as Pyramids, which exposes dozens of these triangular rocks during low tide. I've been surfing out here for years and always wondered why these rocks form so frequently and precisely, until 7th-grade science class came rushing back... Unlike smooth river stones, volcanic basalt doesn't erode evenly. Because the original lava cooled unevenly along specific fracture planes, heavy ocean swells fracture the rock along those precise structural lines rather than rounding it off. Combined with coarse sand scouring the base like a belt sander, specific faces get polished into these clean, geometric wedges right in the impact zone. Ironically, the easiest paddle out to that break is directly through the pyramids themselves—just not on low tide. Shot on Fujifilm X-T4 | XF 8-16mm F2.8 R LM WR 16mm | f/5.6 | 0.5s | ISO 3200 | NiSi 10-Stop ND + 2-Stop Reverse GND by @naglefeed
1
2 months ago
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If you've been following along the last two weeks and are wondering how this kind of photography is achieved—exposing for both the sun and foreground in the same shot—it's thanks to two pieces of glass mounted on the front on the lens: Neutral Density and Reverse Graduated filters. The 10-stop ND cuts the overall ambient daylight down far enough to pull a multi-second exposure while looking directly at the sun. That long of an exposure also allows you to create some motion blur, the misty effect of moving water... while not as present in this specific shot, it's one of the main techniques I've been exercising with the series. Second, and this is where the magic happens, is a Reverse Graduated filter. This 2-stop sunset fixer lines up directly with the horizon. Because the brightest part of a sunset sits right at the water line, a reverse grad puts its darkest density right in the middle to catch that harsh sun-ball, then tapers off toward the top so the upper sky doesn't turn unnaturally dark. That lets you hold the highlights without crushing the shadow detail in the foreground. The iPhone is very cool, but it does not do this. Shot on Fujifilm X-T4 | XF 8-16mm F2.8 R LM WR 16mm | f/10 | 2.5s | ISO 1600 | NiSi 10-Stop ND + 2-Stop Reverse GND by @naglefeed
1
2 months ago
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And when the sky gives you nothing, look to the earth. Clear horizons forced me to find detail much closer—like how the last light hits a curving wash line, pulling its warm reflection straight out into the ocean. Shot on Fujifilm X-T4 | XF 8-16mm F2.8 R LM WR 16mm | f/5.0 | 1.2s | ISO 1600 | NiSi 10-Stop ND + 2-Stop Reverse GND by @naglefeed
1
2 months ago
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