Just wanted to drop in and say that these are both very wonderful photographs - congratulations! I'll bet that both of them will make wonderful prints.
Since you asked for C&C I'll just offer a few very small technical observations regarding the first image:
- I think I see a bit of sharpening halo along the edge of the sky and in one or two other locations along edges.
- some of the dark areas go just a bit too close to completely black for my taste, though it may be that this is an artifact of viewing onscreen jpg versions, and related to this...
- to my eye the area at the lower left foreground seems to have a bit more contrast than what seems right to me.
These observations probably all belong in the "nitpicking" category, but since you asked I thought I'd answer.
What I like about these photographs - an incomplete accounting:
#1. There is a wonderful sense of distance/space in this image, perhaps the result of low angle light, very clear air, some filtering (in post?), and some work with contrast/curves. There are several interesting and perhaps subtle s-curve shapes in the composition that lead up and back and forth starting at the bottom left or center. The dynamic range of the image is wonderful and the lighter colored dunes stand out against the darker, more dramatic mountains.
#2. It seems that you paid a lot of careful attention to composition in this one, especially along the right/left sides where you have positioned various elements just inside the edges of the frame. Time of day and low light again worked in your favor I think, and the result is a photograph with tones, form, and texture that seem almost "creamy."
hugh wrote:
I'm not sure what is possible, but I'd like to see a version without the foreground ridge blocking the empty area in front of the dunes.
Hi hugh, sorry I almost missed your post as I think you posted right as I was writing my previous response. Thanks for you kind comments.
I actually don't have a blank foreground shot, though the area I was in could have produced one - I choose that area ahead of time because it looked like I could get foreground elements or not depending on exactly where I set up. As it turned out from a practical standpoint I had to commit one way or another as getting an open foreground would have involved a fairly lengthy class 3 to class 4 scramble along a ridge line and by the time I got there I wouldn't have time to come back if I didn't like what I saw. I decided I did want a foreground and walked around to get the best vantage I could. In the end I liked this perspective because it matched a frequent experience in these parts - that of climbing a ridge and being unexpectedly dumbstruck by the vista in front of you. Sure, you climb further and higher and the view opens more, but that first "discovery" as you clear the ridge and see the view emerging from the foreground elements just sticks with you. I was sort of trying to evoke that here as I had "discovery" tucked in my head as one of a few key themes to focus on during this trip.
But yeah, I'm still curious what that open foreground view looks like - I didn't have the opportunity to see for myself.
Thanks for the specific C&C. I think I mostly eliminated/reduced the haloing in the horizon now and I'll likely optimize the dark areas again when I print. I see what you are saying on the contrast in the lower left, I'll have to play with that at print time. Thanks so much for the specific comments!
Thanks for the specific C&C. I think I mostly eliminated/reduced the haloing in the horizon now and I'll likely optimize the dark areas again when I print. I see what you are saying on the contrast in the lower left, I'll have to play with that at print time. Thanks so much for the specific comments!
Ken
Ken, you are welcome, and I'm relieved to hear that you found the observations useful. I have to say that I also struggle over areas like the one at the lower left and it can be tough to figure out exactly where to go with them. They seem to warrant some increased brightness and contrast (often done with curves in my case) but it is never hard to find the sweet spot between too dark and artificially bright.
Welcome to the forum, at least as far as posting images goes.
These are great, especially the first. Great tones throughout and I really like the comp to show the entire scene. Really well done. Now, just post some more!
Echoing all praise so far, I can only add these are magnificent & original perspectives with perfect b/w conversions. Kudos too on your topo research and extensive pre-visualization that garned such great results. And to think, it also required a resolute persistence thru the artistic frustration that you describe mid-shoot; it happens to me quite often, an overwhelmed feeling that comes, I think, from the combination of extraordinary landscape opportunities and the intense pressure to capture it well. YOu know it's there but the sheer size and scope and varieties of perspective can be almost too much. Well done, Ken!!!
Nov 23, 2009 at 03:26 PM
Mark Metternich Offline • • • • • • Upload & Sell: On
