Jim, it appears on this forum that there are some people who will tell you're done wonderful work, no matter what you post.
I'm not that guy.
That said, I'll say that some of these work, and some don't. Vignetting like this can be very heavy handed, and I think it works best where the borders are darker anyway. So the vignette isn't so apparent, more like an extended darkening of the shadows. As Brian points out, the Nash kicks, er..."ash". The backhoe, "whitewashed grave" and "leaning cross" also seem a bit over the top, vignette-wise. "End of the line" and "Soiled Grave" totally work though. Perhaps it's because the full circle of the vignette isn't apparent? It can get pretty claustrophobic otherwise, and act as a barrier to the viewer (this viewer anyway). But "Nash" is firing on all cylinders, because the darkness, and the halo of light that curves with the roof of the car, create a feeling of impending vehicular doom.
Perhaps that's the secret to vignetting lenses. Match the curve with a real-world curve, and have it part of the composition.
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