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Comments welcome.

Very nice! Regards and good luck!

Fantastic shot Mike - great colours on the rock in the foreground and I like the way my eyes don't automatically jump to the large rock at the back, instead I'm drawn in gently hopping from rock to rock. My only concern is the water in the foreground - it's neither blurred nor transparent somewhere in between. Best regards Stephen

Excelente imagen, belleza de luz y color, perfecto encuadre, magnifica composicion, saludos cordiales Mike.

An interesting variation on the theme, Mike, I assume that you had a grad for the sky. It's the foreground rocks that do it for me, though. Is this PS shadow recovery? I wouldn't think it possible with Velvia in that sort of light. I love the look of the blurred water that still reveals detail.

 

Where is this, BTW. It's not an area that I recognise.

Mike, I was thinking what Jeff said about the rocks in the foreground. I've been experimenting with Velvia 100 and Astia and of those 2 Astia is a clear winner when it comes to long exposures. The Velvia shifts colors so badly that I cannot make it work for me. I haven't tried Velvia 50 yet but have 5 rolls waiting for fall colors. Nice rocks and water blur. - Sean

Thanks all for your impressions. This was a shot which I shelved as I wasn't too keen on it compared to the others from the same morning.

 

Stephen, the foreground water was in a state of movement but there was no white water hence the blurry look. I guess it'd be nice if the underwater rocks were sharp and clear but I think they're OK looking a bit hazy?

 

Yes a 3 stop grad on the sky Jeff. Glad the foreground rocks assume some importance for you as I used alot of rear tilt on the camera to make them appear larger. There's a bit of shadow recovery work here but the shadow detail was brought out by scanning with a longer exposure - haven't done this before but it seems to work well with Velvia as the detail is always there on the tranny.

 

I never use the Velvia 100 for these kind of shots anymore Sean for the reasons you stated. I'm slowly coming to terms with how to deal with Velvia 50 though in terms of scanning and camera angle. Velvia 100 is a winner in terms of reciprocity failure (zero up to 2 minutes I think) but as long as you take care of that then the 50ASA is a much better film. It still requires some removal of magenta and blue though. Have tried some col. negative films to try and cope better with the large contrast of such shots but I can't make it work for me in terms of grain etc.

Mike, thanks. How do you do a longer exposure on a scan?

Jeff first of all the scanner has to be able to do this and secondly the software has to have this option. When I use VueScan there's a couple of options; one is to to do a "long exposure pass" and another is to adjust "exposure clipping". If I'm using the Epson 4990 for the 4 x 5s I just adjust the curves in the scanner software before scanning - seems to work better than doing it in photoshop - not sure if this option actually increases the scan exposure though.

Thanks, Mike. It seems to work well.

I have entered from the LL. diagomaly to the middle, than to the left till the light and than to the right horizontal line of rocks. The strong texture and light and different colors of the LL are eye catching Mike, and interesting how it go's in zig -zagig direction.The blured surface is accentuating the forms and directions. Busy scene of nature but easy to follow its parts. beautiful subdued light.

Mike I like it very much. The composition and the colour palette reminds me some works of Joe Cornish. Light is beautiful. In your works the light is almost always the first - just as Joe Cornish wrote. I have a small reservation concerning sharpening as for me the sharpening halos are too prominent (especially under the cloud on the right). Regards, Michal.

I guess it is a busy scene Pnina and I'm glad viewers are finding a path through it toward the sea stack in the background. I was never sure about placing the large dominant foreground rock in the left of frame as there was a good comp. (and more obvious one) with it situated more centrally. Thanks, as always, for your impressions.

 

Thanks Michal, I think you're right about the sharpening and the printed version (if I print it) will have less sharpening or at least, more selective sharpening. Joe does some fine work indeed, I guess this shot is very typically a LF one where foreground elements have had their shapes accentuated through the use of rear tilt; this is the beauty of LF - the extra creative tools one has are really a plus sometimes.