landauer

I like yours better. It's crisp, the ice on that mirror lake is decidedly more interesting, and you picked a better time of day (shadows and depth).

 

The one element (has nothing to do with the photog!) that I like better in the A.A. shot is the slight twist at the peak of the snow... as if it were a path leading back behind the rock face...

Now before you get all bent out of shape :c) and cry foul, this is actually a legit product on the market (the legal market....) and not some "organ-ic" joke.

Eco Banana

http://www.eco-banana.com.au

 

It's also a very nice picture.

Merry Christmas. Having some fun with my new D60, so it really was a

merry christmas for me. Hope it is for all of you as well. This shot

was done infront of a gold backdrop taken in complete darkness. A

flash burst filled in Santa baby, and the Merry Xmas was done with a

flashlight. 30 second exposure. Took about 8 tries to get it right

(had to write backwards and all!).

This was hand colored off of an 11x11 print and rescanned. Comments

and ratings appreciated.

The parallel quality of the lounge chair and the woman is interesting, the floor isn't so much of a problem as the foot being so bright, but her calf being in deep shadow.

 

I'm glad to see a new style of image from you; frankly, your other images were starting to look the same. I wonder how long you can keep giving someone high originality remarks when they start to repeat themselves.

Philip - It's nice to see that you've decided to join the rest of us an post some images on this site ;c) One question about your general technique: you seem to like unsaturated images. I can usually spot one of your color shots by the muted tones and the low contrast. Do you photoshop to get this result or is your choice of film/scanner somehow involved?

Yeah, too bad I don't have a super-wide angle lens to overcome the 1.6x factor of the D60 for architectural shots. I figured that the most important elements were below the arch, everything above is just superfluous and easy to exrapolate from surroundings. The camera is already on the ground in order to get this shot, so unless I could dig through concrete and pull a Citizen Cane, the top of the arch was a no go. Maybe I'll splice in the top from another shot.

Tried out a new way to crop this image (check out the accompanying

image in the comments) using the golden mean.

Comments and ratings welcome.

Worthy of a painting of one of the great masters. The horse is a nice touch.

Let me know what you think.

Yeah, I know what you mean. I watched as the colors leached out of the facade as I altered the RAW whitebalance to remove the green cast across the face (there's still some above the arches). Let me see if I can't take a shot closer to sunset and get some sky in there too, and I'll take you up on that print. 13x19? At least they started turning the lights on the facade, so I don't have to digitally edit in under the arches.

Here is an example of what these look like full frame. I figure that the 300mm lens * 1.6 for the D60 makes the effective lens 480mm, which makes these 9.6 X shots of the moon.

Peter, you're right on. This image is actually the result of my second endeavor into combining these two images. I spent about 5 hours on the first attempt, making a lot of mistakes and compromises. Sadly, I accidently saved that file after I had adjusted the image down for photo.net (from 4400 pixels wide to 900).

 

The version that you see here took me about 40 hours of work, most of which I hope you can't see. The entire left edge of the frame is reconstructed, the area under the three center arches is at least 2 stops underexposed, the side colonnades are color adjusted and matched with the facade, the roof line/mosaic/cross was aligned (took 6+ hours of tweaking), the brickwork between the disk in the foreground and the colonnade was reworked and patched, the angles leveled in the colonnade and across the facade, and the sky was completely reworked from scratch.

 

The art is in the details, and even in a 13x19 print from a Canon S9000, I can't find a fault. I imagine that there's some point where too many parallel and orthogonal lines makes for an awkward image, but at 13x19 it looks fine. At 4x6 I can certainly see the distortion. I guess I'll have to tinker with it some more to find the optimal amount of perspective at each image size. I guess this reveals my stance on wether photographic images are created or captured; no matter how untrue to the digital negative, this image is true to the experience of standing in front of the one time largest mosaic in America and still one of the most beautiful mosaics in the world.

 

I am amused by the other school of photographers who purchase bigger and better cameras, spend thousands on lenses, hundreds on filters, and use every glass-based trick in the book, only to scoff at any use of Photoshop as "cheating" or "unskillful." I guess some photographers will never really overcome the stigma of being the bastards of the art family. My photography isn't about Leica or Velvia, it's about making the image I have in my head. I guess if I'm not patient enough to wait for mother nature to set the scene, I have to do it myself. I can certainly tell you, Photoshop didn't have any one-click filter that magically put this image together, and as you can see from the original images, luck had nothing to do with it.

In all the shots, I used ISO 100, a tripod, and prefired the shutter to prevent image shake.

Lens: 75-300mm @ 300mm

 

Bottom Moon:

Av 5.6 / Tv 1/90

Exposure Compensation -1.5

 

Full Moon Shot:

Av 5.6 / Tv 1/350

Exposure Compensation: -2

 

Unlike most of my D60 images, these shots are almost at full resolution, because the moon is so small in the frame, even at 300mm.

 

In preparation for their morning bombing of newly polished cars and unsuspecting beach goers, the seagull bregade snapped to attention atop the pilons of the peer; one bird per pilon, no more no less. :c)

mmmmmmmmm, saturation!

Comments and ratings appreciated.

Lovely.

MOOOOOOOOOOOOO!

This is Memorial Church on the Stanford campus, you can see my shadow

on the bottom left half of the image. The photo was stitched from

two 30 second exposures (left half/right half) with some major

digital darkroom work in the sky to color match and bring out the

stars. The stitching process involved straightening the horizon and

correcting for perspective in the facade. The three areas under the

center arches are also 2 stops underexposed compared to the rest of

the image, which was shot underexposed and developed overexposed to

get a deep saturation.

This is the most beautiful image of Half Dome. It has so much going for it: close focus, far focus, touch of civilization, land, water, and sky. Oh, yeah, and that amazingly still reflection. Bravo.

I like this image because of the warm colors and the texture; what do

you think of it? Does it pass the wall test or is it

just "photographer's pride" ?

This shot is has great lines; it almost remids me of an architectual shot with the intersecting arcs and bold horizontal lines. It's very pleasing in B&W, especially considering so many headlight/tail light shots are in color.

This is a beautiful shot, reminds me of the great sunsets in Colorado. Can you see the man in the sky, flying over the mountains?