Friday, September 17, 2021

Special online auction to benifit CBES "Love and the Milky Way" incuded in auction


Hi Folks! At the oceanfront this morning picking up JBOTV Metal Print Nightscape “Love and the Milky Way”. This will be in a special online auction “Pedal to Protect Virginia's Eastern Shore Online Auction” put on by the Citizens For a Better Eastern Shore (CBES). The auction will start Oct 1st and run through the 16th. We will provide an online link or just check the CBES web site for more info. (
Photo Info: The Milky way was filmed using long exposure and stacking techniques. A total of 15 minutes exposure time. The photo was taken around 4am during the new moon of April 2020 in Cape Charles. Visible in the Milky Way and night sky are the planets, Jupiter, Saturn, and Mars. Constellations Sagittarius and Scorpius are also visible. In the Milky Way visible is the Dark Horse Nebula, M6 Cluster. small Sagitarious star cloud, the Lagoon Nebula, Trifid Nebula, the Eagle Nebula and Omega Nebula
This is one of our most popular metal prints and is also on display at the Lemon Tree Gallery in Cape Charles Virginia. To view our entire online gallery for Nightscape metal prints just click the link below.
Godspeed. JB

Thursday, September 16, 2021

Filming Myrtle Island with Captain Ken Eshleman Eco Tour

Here are a few pics from yesterday filming at Myrtle Island. If you have not done this Eco Tour, this fall is the time to do it. The marsh is an incredible color and have never seen so many shells in my life as there are on that island. Fishing was good to, and the speck bite will just get better. Call Captain Ken Eshleman a ring, great captain and very comfortable boat. (757) 572-7589 Cape Charles Fishing Adventure and Eco Tours.

Captain Ken Eshleman

(757) 572-7589 Fishing and Eco Tours

Thursday, September 9, 2021

Jim Baugh Outdoors TV Offshore Tile Fishing with Rudee Tours 2021


Jim Baugh Outdoors TV Offshore Tile Fishing with Rudee Tours 2021


Folks this certainly was a fun one to film and wow, what an adventure! Here is a good way to spend 20 hours of your day.. Offshore Tile Fishing! Wayne Bradby and I headed out of the Va Beach Fishing Center with Rudee Tours onboard the Rudee Angler for an incredible offshore experience. An awesome trip where everyone limited out and more trophies than I could count. This is one of those bucket list experiences. The entire trip is an adventure. 

Yes, we left at 1:30 am in the morning to drive to the Fishing Center, and the charter left the dock around 2:30am. About a 5-hour boat ride out and then the bottom bouncing bonanza begins, and between 300 to 700 feet deep! 

Enjoy the show and book your trip with Rudee Tours and have a trip of a lifetime. Plus, these Tilefish are super tasty on the dinner table. 

Next JBOTV shoot will be fishing the waters around the Oyster Farm for Specks. Cant wait! 


Jim Baugh


The Oyster Farm at Kings Creek


Rudee Tours

(757) 425-3400


Virginia Beach Fishing Center

(757) 491-8000




Nightscapes by Jim Baugh


JBOTV on Amazon Prime Video Season 32 and now Season 33


JBOTV You Tube Channel


“HOOKED” by Jim Baugh on Amazon. Paperback, Audio, and Kindle


Coastal Angler Magazine Tidewater, ESVA, and OBX regional FB Page

Field and post production services by: Jim Baugh Outdoors TV, Mermaid Bay Media and Mermaid Bay AIR (FAA Part 107 licensed Drone Pilot). For film, nonlinear editing, original soundtracks, and photography inquiries just email us at,

Wednesday, August 18, 2021

Renowned Eastern Shore Artist Marty Burgess Paints Jim Baughs Nightscape of Magotha Bay (Cushman's Landing)


WOW! What an honor. To have one of my Nightscapes turned into a painting. Just to cool for words. But here are a few, Thank you Marty Burgess! Awesome work. Godspeed, 

Jim Baugh


From artist Marty Burgess

"Jim Baugh is a Renaissance man, videographer, musician and chef. His photographs of the Milky Way are especially beautiful. Upon viewing his Milky Way over Magotha (Cushman's Landing) I contacted Jim and asked permission to interpret the photo into a painting. He graciously granted permission. Thank you JB."

Cushman's Landing

This is the Nightscape by Jim Baugh that inspired Marty Burgress to create such an awesome oil painting. The Nightscape was filmed in March 2021.

Contact info for Marty Burgess on Facebook

Astrophotography, Nightscapes, Films, Stills and Tutorials by Jim Baugh, links below

Wednesday, July 14, 2021

Jim Baugh Outdoors TV Show Offshore Tuna and Mahi Summer 2021


JBOTV heads offshore onboard the Impulsive for an exciting yellowfin tuna trip then we head down south with Mike Wilburn to fish offshore the Outer Banks for Mahi Mahi. Also a new dockside sashimi recipe. Feel free to share and if you visit our You Tube channel linked below, please like and subscribe.


Jim Baugh


The Oyster Farm at Kings Creek


Nightscapes by Jim Baugh

Seaside Vacations / Chincoteague VA and Ocean City MD

(O) 757.336.7070 /

JBOTV on Amazon Prime Video Season 32 and now Season 33

JBOTV You Tube Channel

“HOOKED” by Jim Baugh on Amazon. Paperback, Audio, and Kindle

Coastal Angler Magazine Tidewater, ESVA, and OBX regional FB Page

Sunday, June 20, 2021

Jim Baugh Outdoors TV 33d Season Amazon Prime Video

 Hi Folks, the first four or five shows of JBOTV 33d season is now up on Amazon Prime Video worldwide. Check it out below.


Season 33

Season 32


To check out Jim Baugh Outdoors Latest Shows, News, and over 30yr archive of re mastered JBOTV Check out our You Tube Link Below. Please Subscribe. JB

 Jim Baugh online hub. Bio, production company info for both Mermaid Bay Productions and Mermaid Bay AIR, links, and Gallery. Click Here

Thursday, March 25, 2021



New Show! New Sea Bass! New Underwater Film! New Recipes! New Soundtrack! Offshore Sea Bassin 2021 Jim Baugh Outdoors TV Feature with guest outdoorsman Wayne Bradby. Special thanks to the Virginia Beach Fishing Center. JBOTV LOVES fishing for Sea Bass offshore and the table fare is awesome!

Special dedication to Jim Baugh Outdoors TV Action Cam GOPRO Hero 4. We lost ya on this shoot due to a failed housing, but you were our soul mate for 4 years. You did a great job, but you can and will be replaced.

Jim Baugh Outdoors TV Home Base Port is the Oyster Farm located in Cape Charles on the Eastern Shore of Virginia. For the marina, accommodations / lodging / Vacation rentals, the Seafood Eatery, festivals or events, follow the link below. The main number is (757) 331-8640

The Oyster Farm at Kings Creek Eastern Shore of Virginia https://www.theoysterfarmatkingscreek...

Jim Baugh Outdoors TV Amazon Prime Video

Jim Baugh Outdoors TV You Tube Channel

The Virginia Beach Fishing Center

VBFC Phone (757) 491-8000

Everything Jim Baugh


Friday, February 19, 2021

New Show JBOTV: Bottom Fishing on board the Miss Jennifer and Oyster Harvest with Wayne Bradby


New Show! Bottom fishing on board the Miss Jennifer departing from Kings Creek Cape Charles Virginia (Cherrystone Campgrounds). Also special guest Outdoorsman Wayne Bradby joins JBOTV for some Oyster Harvest and Shucking fun right on Mermaid Bay Beach, lower Chesapeake Bay

The Oyster Farm at Kings Creek Eastern Shore of Virginia

Jim Baugh Outdoors TV Amazon Prime Video

Jim Baugh Outdoors TV You Tube Channel

Reservation for the Miss Jennifer

Thursday, December 31, 2020

Happy New Years From Jim Baugh Outdoors TV!

Lookin for LOVE in 2021! Wishing everyone a prosperous and safe New Year and may great joy and wellness be with you throughout the New Year. Thanks to all our family, friends, viewers, sponsors, and production clients that have kept Jim Baugh Outdoors TV rolling along now in its 33d year. Look for our Sea Bass announcement coming soon for Feb 2021. Fun Stuff. Godspeed, Jim Baugh, JBOTV

Wednesday, December 16, 2020

Jim Baugh Outdoors TV Feature 2020 Mid Atlantic Rockfish Shootout held at the Oyster Farm in Cape Charles Virginia

CONGRATULATIONS to the anglers of Mystic Lady, who swept 1st, 2nd and 3rd place in the 18th Annual Mid-Atlantic Rockfish Shootout!! They were all-in on Calcuttas, and took everything plus 1st and 2nd place for Single Biggest Fish, so these guys had a great day winning $42,785.80!

Jim Baugh Outdoors TV feature of the 2020 toureny is below on You Tube.

Here are the final standings, weights and prize money:
1st Place - Mystic Lady 3, 39.80 lbs
3rd Place - Mystic Lady 1, 27.10 lbs
2nd Place - Mystic Lady 2, 31.15 lbs
4th Place - All Floored Up 1, 26 lbs, 3rd Place Single Biggest Fish - $1607.20
5th Place - Team Rambo, 24.05 lbs, $783 6th Place - Top Dog II, 22.25 lbs, $391.50 7th Place - Leaky Tiki, 20.25 lbs, $130.50 Shootout web site

The Oyster Farm at Kings Creek Eastern Shore of Virginia

Jim Baugh Outdoors TV Amazon Prime Video

Jim Baugh Outdoors TV You Tube Channel

Jim Baugh Online Hub Mermaid Bay Media LLC & Mermaid Bay AIR

Jim Baugh Outdoors TV Blog Site

Jim’s Galley Blog

Friday, November 6, 2020

Shadowpainting Nightscapes


“  S   N  

N i g h t s c a p e s 

A technique that is a variant of light painting that I have been developing is something I call “Shadowpainting”. This unique backlighting technique enables the creation of deep contrasting shadows and depth in a scene by utilizing RGB lights, light poles, and a wireless control system where the photographer can preview and instantly control the shutter speed, ISO, and aperture remotely. Shadowpainting also consist of the photographer “Colorscapeing” the Nightscape scene by utilizing a complementing color scheme to the subject being filmed. 

Basic equipment: A mobile RGB LED with long light pole, a camera that can be controlled through a smartphone/wifi. Most recent DSLR’s will have wifi as well as a downloadable app that will enable remote control of the camera. One can use wifi or Bluetooth, however you will get better range with wifi and that is what I always use.

The actual equipment I used with these shots is a Cannon 200D/SL2, GVM RGB 7s light, monfrotto tripod and a Samsung 10s smartphone that is used to operate the camera remotly while filming and repositioning the lights.


First locate the scene you want to film. Desirable targets for me usually are historic in nature. It is also good to select a subject that has some object behind and to the side of the selected subject. This could be trees, or just about anything really. It is the objects that surround the foreground subject that you will create most of your deep and best contrasting shadows. An example of a subject that would NOT make for good shadowpainting would be a small barn sitting in the middle of a field with nothing around it. This would make for a nice light painted scene however not so much for shadowpainting.

A good example of Shadowpainting from behind the subject

Important tip: One thing you want to look for in determining a scene is to try and find a subject that you can place your light inside of your subject. For example, a car, a boat, a small abandoned house, etc. Finding a subject like this will allow you to film from the inside shooting your light outside, usually through a doorway or window. This also will let you expand you colorscape because you can choose what color to paint the interior with, here again is where the complementary color match comes into play. What I did was have a color wheel guide on my cell phone and reference it often when deciding the color palate to use.

Subjects like this REALLY come to life when shooting from the interior. These are the type of subjects I look for the most. They are not always possible to find, but worth the search and time to find them.

These are two good examples of painting from the interior shooting out to the exterior bringing life to the scene.

A)    Once you have found the scene you want to Shadowpaint, find the best composition and figure the placement of the camera, this is done during the day. It is important to do this step during the day because you need to scout out the area you will be positioning with the RGB light and determining areas that you can backlight the main subject, or subjects in the scene. When you find the locations to film to the side and behind the foreground subject, mark them during the day, just be sure you can remember where they are so at night you can easily find them.

B)     The other reason to do this planning during the day is because you will need to determine your color palate or “Colorscape” for which you will paint with. Here you can decide what color you want the main subject to be, then determine complementary colors for the scene. Remember what colors you decide during the day, that takes the guessing out during the night.


If not on public property, ALWAYS get permission to film at the location you want to shoot. NEVER take for grantit that it is ok to film, get permission first.

Note: Basically, with proper planning, there is little to no guess work regarding the composition and lighting at night. Once on location, the only real adjustment you may want to make will be minor adjustment with camera placement. Once you are on location and ready to film and everything is set, SUPER lock down the camera on the tripod so it cannot move at all.

Step 2

As soon as it is astronomical twilight or night, turn on the camera and smartphone. Wirelessly connect the two and open the camera app so you can control the camera from the phone. Now set your proper exposure and aperture and iso based on the available natural light in the scene. Once the settings are where you think they should be, fire off several test exposures without any lighting. Check to make sure the tripod/camera is level, examine your test exposures carefully. Once satisfied, now it is time to start Shadowpainting.

Now remember, you already have the colorscape design figured out, so you really can move pretty fast capturing the exposures.

A good example of finding a subject that you can shoot from the interior, creating a lot of life to the scene.

How to Shadowpaint?

Here are some important tips. For one, take your RGB light attached to the light pole and start by filming behind and to the side of the foreground subject. ½ of the exposures should be facing away from the foreground subject. The remaining exposures film to the back side, and side of the foreground subject. Use your smartphone to trigger the camera and view the scene remotely.

If you want a brighter light in certain exposures, simply decrease shutter speed.

Here is a range of shutter speeds I use, and ISO is usually always set to 100. Usually f2.8 Aperture.

4 sec  6 sec  8 sec  10 sec 15 sec 20 sec & 30 sec

(TIP: If you need to start shooting before it is night, but close, you can raise the aperture which will allow you to decrease your shutter speed so you can start light painting. I have had to do this sometimes when I have a time limit of where I have been given permission to film, like parks for example.)

While selecting shots you will want to position the RGB light in different angels, like turning the light pole down so the RGB light is just setting off the ground. This will create fantastic shadows. If there are trees behind the foreground subject, definitely extend the pole and take exposures facing away from (Or behind) the subject. Also take the pole and extend the light into the various tree limbs and take exposures towards the foreground subject, the side, as well as behind. If there are trees and shrubbery behind a subject I am shooting, usually I will take between 8 to 15 exposures just in that area.

Next move to the sides of the foreground subject and light the subject with the selected pre chosen color, take exposures towards the subject as well as away. Keep in mind to vary the height of the light from right on the ground, to as high as the light pole will extend. By extending the light pole to it’s fullest and holding the pole above my head at arms length, I get a reach with the RGB light of over 15 feet. Many times I will take the light and extend it far deep into the trees that are behind the foreground subject. Doing so, will take several exposures while repositioning the light. This creates fantastic deep shadows behind your foreground subject. Think of the light pole as a tool that will enable you to put the light in places that normally would be difficult to do.

NEVER shadowpaint directly head on in front of the camera facing the subject. ALWAYS film from the sides and behind. At most facing the front of the subject, you will want to paint at the quarters on both sides of the subject.

Preview the exposures in the camera but be sure not to move the camera in anyway.

How many exposures to take? That totally depends on the subject and scene. Depending on the size of the subject I will film anywhere from 10 to 120 exposures. Usually the higher number of exposures is due to the size of the scene. The bigger the scene, than usually the more exposures are necessary. On average, I will shoot between 40 to 80 exposures. Creating the shadows takes more exposures because your basically shooting at least two or three addition exposures ( facing away and behind the subject) than one would ordinarily do with standard light painting techniques.

Once you have completed all your main exposures, shoot some safety shots using a flashlight to paint some of the areas that you may fear you have missed. Once in a while, I will use one of the exposures in the final edit. They are good to have.

NOTE: Remember because you are using a RGB light, you can use the colors and positioning to bounce light off the ground or subjects, to help direct the viewers eye of where you want them to focus on. This is a handy thing to remember when composing the shot. In the field I have a few times almost given up on the composition because I just could not frame it the way I wanted, then only to realize I can use lighting to direct the viewers eye in the scene, this has saved me on more than one shoot.

In Post

Once back to post processing, import all images into a script in Photoshop, then highlight all layers, blend in lighten mode. Then go through one layer at a time, adding a layer and adjusting opacity, and any color adjustments. Camera RAW Filer is my go-to. There are plenty of online tutorials on how to stack layers should you not be familiar.

Also as you go through the layers use a layer mask to mask out anything unwanted like the lights themselves. Also be carefull to look at each layer and see if the light is effecting parts of the image that you dont want it to do. If it is, then mask it out.

Once you adjust all the layers in Photoshop, flatten the image. Now you will make final global adjustments like brightness and contrast. Also this is where you can look at the image and if there are some colors you want to pop more, (saturate or de saturate) Use the camera RAW filter and use the color mixer.

At this point, wrapping up, look at the image and see if there is any effects you may want to add such as light rays, fog, lens flair, etc. If you are not familiar on how to do these things, just google online free tutorials using photoshop on youtube.

Shadowpainting is a great tecknique for a lot of subjects and is something I also do on a lot of foregrounds in my Milky Way filming. For filming lanscape Milky Way images (widefield) I use a Ioptron Sky Tracker Polar Aligned, usually with an 11-16mm Tokina Lens wrapped with a lens muff.

All the best, good luck and clear skies.


Jim Baugh

Jim Baugh Outdoors TV


An example of a Shadowpainted foreground with an astro shot composited. 25 foreground exposures shot at 11mm, 3 background exposures shot at 320mm. Notice the white light coming out of the hatch. An example of extending the light pole to its fullest, inserting the RGB light through the hull of the boat and positioning it inside under the hatch with the light pointing outwards. This was a real shot, the moon did rise right over the wrecked boat, and it was that color. The full moon over Oyster VA/Atlantic Ocean Halloween night 2020

A good example of bouncing a blue light on the ground to direct the viewers focus to the tractor at the top left of the image.

Tangier Island Chesapeake Bay November 2020 Docks and Milky Way, foreground was 35 exposures, Milky Way Single 5 minute exposure tracked.

An example of having to start filming at a higher F stop to reduce light, so the exposure time could be increased. This shot started at around 1-2 second exposure. Then the F stop was decreased and exposure lengthened as the scene became darker. I did this because there were street lights getting ready to turn on that would kill the scene, so had to work fast and cheat the light at the beginning of the shoot. Good thing to know!

Jim Baugh pre scouting and ready to film at the National Wildlife Refuge Eastern Shore of Virginia
November 4, 2020

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This pic is a good example of using the light pole to position the RGB light in places that usually would be very difficult to do.

Jim Baugh repositioning the RGB light shadowpainting a nightscape in Magothy Bay.