|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 31 |
Mar 20 |
Reply |
Thank you. |
Mar 12th |
| 31 |
Mar 20 |
Reply |
Thank you. |
Mar 12th |
| 31 |
Mar 20 |
Comment |
Thank you. Development was N+1. |
Mar 9th |
| 31 |
Mar 20 |
Reply |
Thank you for the complements, I appreciate them. |
Mar 8th |
| 31 |
Mar 20 |
Reply |
Thank you Ella.
Capture was not too difficult on film. I'm old enough that I was actually taught the "Zone System" of exposure when using black and white film. I still have my original parametric curves (a graph) in my camera bag that I still use when shooting film. All the "work" was done decades ago. Now its just enjoy my time in the field. |
Mar 4th |
| 31 |
Mar 20 |
Comment |
Thank you Stephan for the compliment!
The clue can be seen as you observe a slight curve out of the border of the image at the top. This is due to the shape of the film holder used in a large format view camera. Also, some brands of sheet film have a "notch code" cut into one side of the film that will record on a contact print. I scanned the entire 5"x7" negative and digitally print it as though it is a contact print made in a traditional wet lab.
As for location, these petroglyphs are located at the Parowan Gap about 20 miles west on I-15. Parowan city is east of the interstate, the petroglyphs are to the west. There is a paved road through the gap and a parking lot for about 2 cars next to the petroglyphs. Unfortunately the state of Utah has had to erect a fence around the site to prevent vandelism. You will need to place your lens through the chain link to get an unobstructed view. |
Mar 4th |
| 31 |
Mar 20 |
Comment |
This is a very nice image from the coast. What draws my interest is that the boats are moored to buoys and not to the adjacent bulkhead in the background which is opposite of what I've seen in the lower Chesapeake Bay in the US. Out of curiosity, how large is the river Wear? |
Mar 1st |
| 31 |
Mar 20 |
Comment |
Interesting that the tape measure border you added is in both metric and SAE scales. You have excellent control of the details as I am able to distinguish the individual threads in both the black and white spools. Since you stated that this was done with a large stack of individual images, I am curious as to whether or not each spool of thread was shot separately and composited together or were they together in a single shot. Either way the results are impressive. |
Mar 1st |
| 31 |
Mar 20 |
Comment |
There are several aspects of this image that I like. The curving leading line of the beach draws my view from the beach in the foreground to the far sea stacks. The detail (texture) of the near sea stack along with the sharp focus of the surf and spray is impressive and allows me to survey the entire scene in detail. Excellent work. |
Mar 1st |
5 comments - 4 replies for Group 31
|
| 93 |
Mar 20 |
Comment |
I am lucky to live where I do. In the future, I will be submitting images from outside the parks. My challenge to myself is to produce photographs of equal quality from areas others ignore or just drive past blindly ignorant of what is there. |
Mar 9th |
| 93 |
Mar 20 |
Reply |
Thank you for an excellent critique (and no offense taken for the various suggestions). I did go back and looked at all of the shots I did that day. Opened them up in Photoshop and checked the histogram of the RAW file. All were clipped in the highlights. With what I have learned from books by Bruce Fraser, Jeff Schewe, and Martin Evening I would not attempt to fix the sky as there is no data in that part of the image to work with. Your suggestions on possible fixes got me thinking so I checked my original exposure data. Easy solution, drive down when its a bit warmer in the spring and do it over. I live close enough so it's not a big deal. There is always room to improve. |
Mar 5th |
| 93 |
Mar 20 |
Reply |
Thank you Darcy for the compliment. What you don't see is the mob of tourists just to my left doing what you describe. I just walked around the rock until they were no longer in camera view. It's the same rock that is on the post cards in the visitor center, just from the side. Look carefully at the shadows and you can see that all the tourists have is flat lighting. You can decide if was worth my moving out of their way. |
Mar 4th |
| 93 |
Mar 20 |
Reply |
This is definitely after post production. I processed the foreground foliage, the rocks, and the sky separately in layers that are masked. It was difficult to hold detail in the clouds which is due to blowing out the whites during exposure.
Thank you for your comments. |
Mar 2nd |
| 93 |
Mar 20 |
Comment |
I really like your aerial image of the landscape. I downloaded the image and used NIK color effects pro and the detail extractor to remove some of the atmospheric haze by boosting the contrast and saturation (did not use the extractor slider). To me, it appears slightly sharper and has more of an "alpen glow" appearance typical of a late afternoon shot. In the end it is personal preference, but I really like the image. |
Mar 1st |
 |
| 93 |
Mar 20 |
Comment |
I agree with Paul in that I am attracted to the colors and the reflections. Personally I think the slightly off center crab shack is balanced by the line of exposed pilings.
I noticed too that the shack still has its Christmas lights up. Have you tried a longer exposure at night to see if the reflections are equally interesting? |
Mar 1st |
| 93 |
Mar 20 |
Comment |
I agree with you Jerry, a waterfall without the ever present mist just does not look natural to me. For most of my own photography I try to produce a print that looks as close as possible to what I saw. The only "fix" I would attempt would be to rotate the image slightly counterclockwise to get the rock surface of the escarpment level (not the trees growing on top). That change though may require the resulting image to be cropped slightly tighter due to loss of image in the corners. Well done. |
Mar 1st |
4 comments - 3 replies for Group 93
|
9 comments - 7 replies Total
|
