peterneibert

I thought putting the foreground (mast) on the left might suffice.

If one moves the lower edge of the frame downward to make

conventional foreground space, it uncovers mostly plain water, with

some unexceptional boat railings on the left. Comments?

i cant believe i wrote that.

what i mean is: the smoothe, blue sky doesn't seem to fit with the spectacular, ruddy texture of the monument.

Another job for PhotoShop Man!

Don't quit too soon.

Fred,
1. since you went to the level of a drum scan, i'm guessing you had it printed therefrom. where is that print now? presumably not in your garage sale?
2. my experience with the coolpix wide angle adapter has led me to look more closely at panoramic photography. One phenomenon that I'm sure is an "opportunity," more-so than a problem, is the frequent occurence of darkness at the wings of the picture. Of course there's less subtle shadow depth coming though the www presentation than one expects to see in a drum scanned print.
3. What prompted you to give-up your film-based panoramic outfit?
4. If you were to look for a film based panoramic camera these days, whose would you look at (if any)? Hasselblad is ever so modestly publicizing their x-pan, but with no price listed (i know what that means).
I can find no used "Hasselblad" x-pan's in the usual places. There are a few "Fuji-Hasselblad" x-pan's currently offered used -- I'm not sure how much is Hasselblad and how much is something else.

Looking forward to your critical advice,

Nabil,

this takes in the critiques of "wilderness promiscuity" and gives a delightful picture. the light on the leaf in the lower center/left is an especially effective touch.

Nabil,

I join Michelle Wood's suggestion above.

Also the dark, lower left seems a bit overweighted within this composition. Withal, an excellent atmosphere and worth a bit more work.

Andrei, I dont have a late afternoon shot handy, but here's an early morning shot using Portra 800 in a medium format camera.

fred, i believe the black strip is in the first order of reflection i.e. reflecting the inside underside of the far joist.

not so?

the web tends to darken many pictures the equivalent of as much as a stop. That seems to have happened in the initial posting here.

So, I have adjusted the curves on the lower portion of the image to let more of the photo detail and color emerge in web presentation.

For piet's sake, i had to seewhat it would look like squared-up (mondrian would have wanted it that way):

Fred,
Yes, the sun darkened it considerably, and I did it more-so in PS to srengthen to bring out the light in the clouds and the color.
As for the parakeet, it died the next day. Really. It seems I don't have the touch.

Looking Forward to your candid critique,

Yes, it really does look like this,

Regina,
thanks for your interest.
I've found B&W troublesome on the web, and have an easier time with duotone. The version attached uses the relatively light brown/orange Pantone 155C for the second color to bring out the midtones (using PS7's duotone software).
I'm not sure how well it fares in over-all comparison to the original color version.
Your thoughts?

I tried my best to find a nit to pick on this one, but there just aren't any. This is as good as it gets. Anywhere.

Where will you be when you wake up?

Attached is a follow-on shot: without the window, the passenger has turned away, and the far shore is not quite so far.
Slight movement in these compositional elements shifts both image and mood.

Wayne, without doubt this is your best yet. Have you tried printing it?

Looking forward to your candid critique,

Looks to me like the train has overtaken it's own headlights.

This one comes together right: the angle of the train's headlights ascending toward the right, the darkness across the top of the frame and the automobile headlights on the pavement at lower left -- black, white, red and yellow.

Very dramatic. What time did you go to sleep after this?

Jim S,

Did it take a court order to change your name on Photo.net?

You've got the light right to bring out an ethereal atmosphere. You don't have to dig out a ladder to "frame it up," as Fred suggested. But that would mean using some late XXth Century technology, like PhotoShop. In the earlier XXth Century they used the full frame standard because they didn't know how not to. But then of course they didn't have color film commercially available until the 1930's.

So, let's see where you fit in this time warp: after color, during full frame and before PhotoShop? That would be in the 1960's-70's when the Jesus on an Eggbeater mosaic was being fit together.

No wonder this is such a good picture.

Welcome back,

The island behind the sailboat is Alcatraz; Angel Island is on the right of the frame.
Tried earlier crops with considerably more fg water.
Looking forward to your candid advice,

Looking forward to your candid critique,

This was enlarged 2x using FredMiranda's SI. It prints better at 8 x 10 than it looks on the web.
Color makes a difference -- how about that?

Thank you for our advice onthis one. I have paid up my $15 for Fred Miranda's stair interpolater, laid in a stock of 17" x 22" Somerset Photo Enhanced Velvet and have arranged access to 24" and 54 " printers.

I doubt that I can stretch this file enough to fill out the length of a wall, but i'm hopeful that it can go at least 22". If 22" works, then I'll turn it sidways on roll paper.

This wide angle shot has had minimal distortion correction on the left side and minor curves adjustments.
At this time of year it is difficult to arrange fog clouds clearing in the few minutes that the morning light strikes the city -- here centered on the Barbary Coast.
I have kept the expanse of water in the foreground, because (with the fog clouds rising above) it reminds me of some of the 19th century paintings of Venice across the lagoon.
So, my question is, where to go from here?