peter_daalder

SECURITY - Every poppy grower is required, by law, to report to the police, any person acting suspiciously in or near a poppy crop.

This stern message is printed at the bottom of every Tasmanian Alkaloids wall calendar.

The business of growing Papaver Somniferum (and other varieties) for the production of selected alkaloids, is taken very seriously down here.

The fact that we have strict law enforcement protocols in place and have three modern poppy processing plants in operation, explains part of the reason why controlled legal poppy growing in Afghanistan will not succeed in the foreseeable future. Especially if you are mindful of the fact that illegal crops fetch much higher prices in that country.

As I indicated in an earlier response, it is important (to me) that everyone who has viewed the image above and has read these words, realize how very privileged I was to get in amongst these crops and record the various stages of growth and subsequent harvest.

The image above was obtained at one of the earliest opportunities of venturing into a commercial crop of Papaver Somniferum. I had literally, never before, had the chance to record this kind of subject matter and first impressions were somewhat overwhelming. At the same time, though, I quickly found an appreciation for the 'capsule stage' in the growing process. A poppy paddock in flower can be very pretty indeed, but when you get really close, the individual petals make most photographs rather 'busy'. Even more so, than the one above.

I have attached an eye level view of this particular field, in the hope of providing some kind of indication of how chaotic these plants can appear to be, en masse. This, mainly, in relation to their varying heights.

The shot above was taken hand held, with a Canon 20D and the EF-S 10-22mm lens, at the widest end. I normally work with a tripod, but that was not practicable on this occasion. Finding a grouping that might present some visual interest was quite challenging, especially with the varying heights of the capsules and a breeze that was picking up in strength.

What you see above is what I settled on. It is one of only two close-up shots.

Trying to record the overwhelming chaos of poppy heads in this crazy composition was intentional.

I deliberately burnt the underlying foliage in Photoshop to make the heads stand out in the way that they do above. I'm not one who generally makes many changes (in PS) to what I actually record. However, I have to say that I quite like what Doug has done with his Snipped Version, above. It provides some visual breathing space and improves the overall aesthetics.

Willie the Cropper might be interested to know that this is a crop from the original frame. I also enjoyed reading the term 'gravidity'. This was indeed one of the most vigorous crops that I have come across thus far, with some plants growing as high as five feet and relatively large capsules (for this particular variety).

Another feature that attracted my attention is the slight 'halo' effect, around the left hand side of the trees.

It is quite prominent in the thumbnail view, but becomes somewhat less obvious in the larger versions.

I was wondering if this could be due to a Shadow/Highlight adjustment in Photoshop, but I'm not sure if that is the case/cause.

Finally, I hope that other photo.net members are not viewing our recent exchanges as a mutual admiration sequence...

I genuinely appreciate your detailed critiques on some of my uploads and try to return some honest opinions on yours...

This is a great image, Matthew.

It has captured my attention for various reasons. First of all, after some deliberation, I'm still unsure which is the dominant entry point on this occasion.

Although the low altitude Sun is the main source of attention here, I'm also leaning towards the road as a prominent 'arrow' into the frame (compare A-B and A-B). Either way, both viewing points coincide at the far end of the track, after which, my eyes travel towards the highlights in front of the property wall (and then back to one of the starting points).

Secondly, the late light is absolutely superb and puts new meaning into the term "the golden hour". Furthermore, I'm engaged/entertained by the fact that we are looking at a double barrier, in the form of a cattle grid and two seemingly redundant gates. The latter is (obviously) only there for vehicular traffic. Easy access to Turkeith Station and easy access into the image on both counts...

Cheers, Keith.

The original brickwork is covered by a very thick layer of multiple coats of white paint. This has given the surrounding wall a kind of smeary, smooth effect. Hence the blurry spots...

Previously posted in 2002.

It obviously pays to be prepared for anything coming out of left field...

Top shot!

Yes, of course...

I can remember at least one of those images, from five years ago.

The last one, I found to be particularly challenging indeed, for all the reasons you detailed above.

Every single time that I have had a look at this image, I find myself falling into the trap of judging someone by their appearance alone.

In other words, the serpent bearer looks to be as 'smooth' as a snake himself.

I don't know about the tarnished pewter finish impression. I find the guy's shirt to be superbly exposed/developed/scanned. I can make out the 'weaving patterns' in the fabric.

Apart from that, it appears that this cool customer has a slick sun tan, which seems particularly prominent on his forehead and face. Is that (partly) due to the Tri-X/Diafine characteristics, you were talking about, Lex?

I knew I wouldn't be disappointed in your magnificent portfolio, after I spotted your great addition to the Hay or Straw NW thread.

Immediately connected with this image, as we have many hairpin bends in Tasmania. The light and shadows, together with the curve in the road make for an excellent shot. Cheers,

The large tree in the foreground, somehow prevents me from entering this image.

Nothing much else comes to mind.

Out of your three most recent uploads, this one is without a doubt the best of the bunch.

Just like the 'swirling' mist, my eyes keep going around this composition, without wanting to exit the frame. Good leading lines and a hint of mystery. Not so much about the silos, which are easily identified, but what else is going on up there amongst the fog. Good one, Henry!

An intriguing thumbnail made me think that I was looking at some kind of painted wall texture shot, but upon enlargement, I see raindrops in water.

Minimalist in nature, yet it has also made me think whether I would have taken much notice of this composition, if the dabs of yellow paint had not been there...

Cheers,

Half a day later..., and I'm surprised that nobody has turned up here, as yet.

This image has a lot of atmosphere (literally). The solar disc immediately grabs my attention and holds it for a while, before my eyes wonder down towards the hay bales in the early morning haze. Eventually, I do arrive at the tractor and immediately go for the Larger View...

Unfortunately, there is not a great deal of difference between 679 pixels and 700 pixels in the horizontal dimension, so I am left wondering what could have been (with regards to being impressed by this particular tractor - tongue firmly implanted).

Overall, I'm really taken by the quality of the light in this one. It is always difficult to get a good result, when one includes the Sun in any composition - especially, when it is already at this height above the horizon...

Now that Michael has mucked up the nice row of golden cups, I'll submit my preferred version.

Mind you, I have the full range of Roaring Forties Skies available to me. You can't get them, in the cracked version of Sky In A Box.

Then again, I have temporarily been disabled from doing anything, courtesy of a very wise old feline in the family...

Yes, thanks Doug. Great result!

I couldn't possibly chime in there, though.

I'd muck up the nice string of gold cups... :^)

On this occasion, I'm out of here quick smart.

Very similar to my recent attempt at flipping the canvas and losing your attention, I guess.

With the previous version, you managed to capture and hold my attention.

Your comprehensive response is very much appreciated, Jeremy.

About 500 shots! Thank goodness for the availability of the digital medium, I guess...

Just to put my queries into perspective. As a (mainly) landscape photographer, I have not had much experience with anything over 100-200mm and only recently obtained a 2x TC for my EF 200mm f2.8.

I've had a go at trying to capture some of our feathered friends, but have found it to be quite challenging work. Mostly, because they (of course) don't sit still for very long!

Shooting from inside the house with the screen and window opened/removed, is not something that I have tried as yet. I suppose it is just a matter of patience, persistence and a dose of luck.

An old barn at Western Creek.

Never get tired of shooting this scene...