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Archive 2014 · red sunrise

  
 
FarmerJohn
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p.1 #1 · p.1 #1 · red sunrise


Lots of images to come for glacier... even got some fun blending ones to work on

Red Eagle Lake - the mountains in the background really were red... what do you think?
Forgot to bracket the exposures... so did lots of highlight recovery on the sky







Jul 29, 2014 at 11:20 AM
ben egbert
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p.1 #2 · p.1 #2 · red sunrise


I hear you on red, it is often so powerful that it blows the red channel. Good job on highlight recover, I don't see any telltail signs.

Ben



Jul 29, 2014 at 11:32 AM
RustyBug
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p.1 #3 · p.1 #3 · red sunrise


+1 @ Ben

Interesting how strongly the red (hue/sat variance) draws the eye. I can try to wander away via the leading lines to the right, but I keep circling back to the red.

Side note ... with the energy variance between wavelengths @ R,G,B, I wonder why they designed R&B with the same amount of pixels in the Bayer array. It would seem to me that R, GG, BBB would better reflect the energy balance (either by quantity or pixel size). That way, the noise levels we see in the blue channel would be better handled, and the red channel would be less likely to be overcooked.

Folks much smarter than I, but still @ the energy level variance not being part of the equation. Fuji had its Super CCD with two different sizes of pixels (large & small) for good DR and of course Fuji has the RGGGB for the X-Trans (which is excellent for mono), so it isn't like it can't be done. I get that the G is in the middle of the spectrum, so they kind of "divebomb Charlie", but I think that for ambient light shooters a re-weighted array would be most advantageous given the energy variance between direct sunlight and skylight.

The make "special" cameras for astrophotography ... I'd think a special array for landscapers / ambient shooters would be vastly more popular.

I digress ... bring on the pics.



Jul 29, 2014 at 11:33 AM
sbeme
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p.1 #4 · p.1 #4 · red sunrise


Very nice.
On a lousy monitor....and hopefully on a good one, no problems with highlight recovery as applied.
I find the powerful taper of mountains and reflections strongly pull me to the right edge of the frame, not so much dominated by the red. But I suppose that tension is also an engaging feature of the comp.
Maybe not fair/realistic/necessary, but I kinda want a bit more contrast out by that distant point on the right. Maybe the surrounding sky/water is blown out there? What about just a touch of contrast and burn on the far edge? Or a small gradient with similar light touch?

Scott



Jul 29, 2014 at 12:04 PM
RustyBug
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p.1 #5 · p.1 #5 · red sunrise


+1 @ Scott.

The contrast (hue/sat vs. tonal) @ the red is what pulls me back, i.e. or the lack of contrast (hue/sat/tonal) to hold me more strongly @ the point. +1 @ judicious gradient.



Jul 29, 2014 at 12:09 PM
ben egbert
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p.1 #6 · p.1 #6 · red sunrise


I might try a top to center gradient and bottom up as well, more on top than bottom. This would also darken the right side just a bit and tend to pull the eye towards the vertical midpoint.

By the way, a centered horizon is very appropriate for this.

Like this. I faded a multiply layer top down at an angle to get more on the right side, stopping about the mirror line. I faded to 50%. I then did the same bottom up.







Jul 29, 2014 at 12:16 PM
Camperjim
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p.1 #7 · p.1 #7 · red sunrise


Nice and to the point


Jul 29, 2014 at 01:37 PM
FarmerJohn
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p.1 #8 · p.1 #8 · red sunrise


Thanks for the comments guys.

The sun was rising off to the right, so it should be brighter over there, but maybe I will l pull it back a little bit.

I also used diagonal gradient for highlight recovery. I notice it has caused the mountain tips to be a bit darker, so I'm going to adjust that too.



Jul 29, 2014 at 05:03 PM
FarmerJohn
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p.1 #9 · p.1 #9 · red sunrise


Attempt #2, some more work for the right side, a bit wider crop







Jul 29, 2014 at 09:43 PM
RustyBug
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p.1 #10 · p.1 #10 · red sunrise


Diggin' the mix of soft blue light with warm light, catching the tops. I normally don't care for the blue, but here it works nicely to showcase the time of day (not the same as a WB cast) with the red / rising sun.

Nice job on the edits. Diggin' the formal points @ the corners as well. I'm feelin' it more now @ much goodness on multiple levels.



Jul 29, 2014 at 10:04 PM
ben egbert
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p.1 #11 · p.1 #11 · red sunrise


FarmerJohn wrote:
Attempt #2, some more work for the right side, a bit wider crop


I am really liking this version, nice job.



Jul 30, 2014 at 09:27 AM
FarmerJohn
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p.1 #12 · p.1 #12 · red sunrise


Kent and Ben and Jeff - thanks guys, glad you see some improvements in the second one.

Jeff - I like pano crops too. This is already a 16x10 actually. I think I can't bear to lose the reflections though! I'll do a few more pano crops at some point, don't worry



Jul 30, 2014 at 01:21 PM
ben egbert
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p.1 #13 · p.1 #13 · red sunrise


I agree, and as far as I am concerned the non centered rule should die. When we are there in person looking at the scene, it tends to be centered. You need to crawl on your belly or look up or down to uncover it. This is especially true for reflections.



Jul 30, 2014 at 01:28 PM
RustyBug
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p.1 #14 · p.1 #14 · red sunrise


Non-centered ... imo, largely depends on what you're working with. For a flat horizon of a blank ocean or cloudless sky, it can be a tough sell for a centered horizon.

But for a scene with something to move around in that isn't being "cut in half", I see no reason why a "rule" should, could or would have any bearing on what you do or don't do with it ... too many pieces of the puzzle at how you can draw the viewers eye to latch on to one aspect. Without those other pieces of the puzzle however ... the "cut in half" sometimes can be a little divisive.

The symmetry of John's is nicely anchored by the points in the corners converging to the center point at right. In that regard, even though it is centered, it isn't cutting the image in half.



Jul 30, 2014 at 03:49 PM
ben egbert
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p.1 #15 · p.1 #15 · red sunrise


RustyBug wrote:
Non-centered ... imo, largely depends on what you're working with. For a flat horizon of a blank ocean or cloudless sky, it can be a tough sell for a centered horizon.

But for a scene with something to move around in that isn't being "cut in half", I see no reason why a "rule" should, could or would have any bearing on what you do or don't do with it ... too many pieces of the puzzle at how you can draw the viewers eye to latch on to one aspect. Without those other pieces of the puzzle however ... the
...Show more

, yep tough sell indeed, just putting in my sales pitch.



Jul 30, 2014 at 04:21 PM
FarmerJohn
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p.1 #16 · p.1 #16 · red sunrise


I have to agree... blank sky with centered horizon is a bad idea for the most part.
I think for reflections it works well, because there is something to look at in both cases. Thanks Kent



Jul 30, 2014 at 04:29 PM
AuntiPode
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p.1 #17 · p.1 #17 · red sunrise


I like it, although it would appeal to me a little more if less symmetric. Consider adding some sky as one way to decenter:







Jul 31, 2014 at 03:02 AM
beavens
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p.1 #18 · p.1 #18 · red sunrise


Karen's crop might be my new favorite - you still get the strong left to right then right to left pull AND get to keep the reflections.

Very nice!

Jeff



Jul 31, 2014 at 06:28 AM





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