fertile ground. go back and shoot it when there isn't so much contrast.
Printable View
8x10, S-K 300mm (convertible) with yellow-green filter, X-ray film
https://farm2.staticflickr.com/1706/...6e316331_o.jpg2016-01-27-0002www by Sergei Rodionov, on Flickr
Pali if you are in that area again, take a look around the trees. There often will be walnut shells strewn about in winter. In spring and summer the tree is easy to identify by its multiply compound leaves and large fragrant fruit (nuts in husks).
Proofing old negs. Early 80s roadside trees. 5X7 TX in HC110.
Attachment 146026
Cedar and Shadow, 2016.
Attachment 146124
Bits and pieces in a Smith County Field. 210mm Symar and TX/HC110.
Attachment 146182
https://farm4.staticflickr.com/3865/...2fb2accc_b.jpg
Crown Graphic, FP4+ developed in Ilfasol 3
Snowy tree Owls Head Maine. February 2016. 4x5 speed graphic, 7.25" Verito soft focus lens, Ilford FP4+ in pyrocat hdc.
https://farm2.staticflickr.com/1709/...0215e617_c.jpg
img797
by Jason Philbrook, on Flickr
Thanks for the prompt, sly! That's a great photo Brian.
Landscape photography in the East is like shooting room interiors. No horizon line, no vanishing point, usually something overhead. Very different than handling space in the West.
Attachment 146242
More walking and looking at shadows. I'm up on my 4-runner with a 120mm Super Angulon. iphone of the contact proof off the glass sheet over the fixer tray.
Attachment 146246
Pt/Pd print on Japanese paper (Tosa-shi). 18x24 cm in camera negative.
4X5 neg out of the unproofed boxes....that had a proof. Must have liked it 30 years ago. Sweetgum in rose field in Smith County, Texas.
Attachment 146281
from a couple of days ago; 4x5 210mm, hp5Attachment 146393
Welcome to Large Format Photography Forum
thanks! interesting place.
Hello, I just got here, thought i'd drop in some trees :)
https://farm2.staticflickr.com/1610/...724f07ea_b.jpgAutumn road by Mike Atkins, on Flickr
https://farm6.staticflickr.com/5716/...a1eb59c9_b.jpgimg005 by Mike Atkins, on Flickr
https://farm1.staticflickr.com/666/2...1a7c808c_b.jpgimg002 by Mike Atkins, on Flickr
https://farm2.staticflickr.com/1623/...623f14ce_z.jpgarbre-à-clou_0002 by Mathieu Bauwens, sur Flickr
KodAK 8X10
Fuji 300mm
Bergger Pancro 400
First image M.P.P. 150mm 5.6 portra 400 at f8.0 3 seconds
Second image Horseman 250mm 5.6 Schneider lens Fuji Provia 100 F5.6 1/60
Third image M.P.P 150mm 5.6 Provia 100 not sure on the settings for this one
Attachment 146486
4x5, 210/6.1 (xenar) hp5
As one who studied ornamental horticulture as an undergraduate, and worked in an apple orchard one summer during that period, I enjoy 'portraits' of trees like this one from April 2015. In this case I was lucky to also have a resident woodchuck stop to wonder what I was up to?
Attachment 146573
Taken at Brightonwood Orchards in Kenosha County, Wisconsin, using my Linhof Master Technika Classic 4x5 with 180mm Sironar S lens at f32, and a CPOL filter. Velvia 50 film scanned with Epson V750 PRO.
Unfortunately, the image size and resolution of the attachment here does not come close to providing the level of detail in the 16x20in inkjet print from the scanned slide.
These trees are a getting drowned by flood waters.
Zeiss 15cm f/4.5 Tessar @f/5.6:
http://www.oceanstarproductions.com/...apx-2904ss.jpg
http://www.ianland.net/Hastings33/Images/img455.jpg
Chamonix 8x10, Schneider 240/5.6, Ilford FP4+, Pyrocat HD. It was blowing a gale when I took this (it's on the cliffs next to the sea near where I live), and the exposure is around 1 second. I knew I'd get some tree movement, which bothered me at the time, but in the end I quite liked the result anyway. Scanned from a contact print.
It definitely makes the photo for me.
...
An old native pecan tree slowly dying.
https://farm2.staticflickr.com/1534/...10f553f2_z.jpgNative Texas pecan tree by Kenny Johnson, on Flickr
Few recent trees, all with Chamonix 045F1.
Delta 100 in DDX, 110mm SSXL:
http://www.daveparryphotography.co.u...e382342767.jpg
Delta 100 in DDx, 110mm SSXL:
http://www.daveparryphotography.co.u...e3815bfb90.jpg
Velvia, 240mm f/9 Fujinon:
http://www.daveparryphotography.co.u...e37f4679d4.jpg
Dave I particularly like the first one. How did you get the foliage on the forest floor so light?
http://www.kennethleegallery.com/ima...016-02-01a.jpg
Massachusetts Woods, February 2016
Kodak 2D, 10 3/4 inch Apochromat Artar
5x7 HP5+, D-23
I'm not sure if I like this. Comments welcome.
https://c2.staticflickr.com/2/1551/2...92758cca_c.jpg
Giant Snow Gums, Charlotte Pass, Infrared.
Gelatin-silver photograph on Ultrafine Silver Eagle VC FB photographic paper, image size 19.6cm X 24.4cm, from a 8x10 Efke IR820 negative exposed in a Tachihara 810HD triple extension field view camera fitted with a Wollensak 159mm f9.5 wide angle lens and a IR680 filter. Signed, stamped, and annotated verso.
That is absolutely gorgeous Maris.
Wish I could see the real print in person.
You know Ken, it does have a strange asymmetry to it, and it does seem to demand your attention. But I kind of like it.
Maris you always do seem to have prints with great tonal range on that paper. How do you like it? What are its strengths and shortcoming in your view?
It's always difficult to compare a self-luminous monitor image with a reflective original. It largely depends on the illumination level used for the viewing. At 650 lux (bright room light) the original "Giant Snow Gums" held up next to my uncalibrated monitor matches it pretty closely. And thanks for the praise. It tempts me to lug the 8x10 camera up the side of a mountain all over again.
Mr. Lee
I don't know why, but that tree on the right not being straight for some reason disturbs me.
Other than that , its beautiful
Ultrafine Silver Eagle VC FB is a budget paper from Photowarehouse. But it does produce good blacks, mid tones, and whites except at the lowest contrast grade. It's just a question of doing the test strips, tweaking the exposure, dodging and burning as needed and ... voila! The low price means I can lavish more sheets per negative and really explore possibilities.
At US$76.95 a box of 100 8x10s you'd expect compromises and there are some:
Origin unknown. Country of manufacture should appear on packaging but doesn't.
Box is a bit flimsy and black plastic bag is just adequate.
Paper weight is closer to 1 1/2 weight than double weight.
Some batches have had rough edges. Blunt blade at the cutting and packing factory?
Lowest contrast grade won't deliver black.
Surface a bit dull compared to premium FB gloss papers.
White base is plain neutral, not warm or cool.
In a word "characterless" but at least it doesn't impose it's technical signature on subject matter. This I like.
Four Oaks
Roseville, CA
Its been a long time since I've done anything i 4x5.
Attachment 147175
Shen Hao 4x5, Rodenstock Grandagon 65mm f4.5 (at f16). Ilford FP4, D76
Independence TX live oaks. Chamonix 045 F1, Rodenstock Sironar f5.6 150mm lens, Portra 400.
https://farm2.staticflickr.com/1679/...f60e49b9_z.jpgSpringtime in Independence TX by Kenny Johnson, on Flickr
hi gloucester ma. canham 8x10, bergger 200 pmk, kodak 305 ektarAttachment 147262
I mostly like it. Personally I'd pull the curve down a little (reduce gamma) so it would have richer deep tones without increasing contrast (look at it squinted). I know it's not usually your style, but it would make the shapes slightly stronger.
I'd ignore the concerns about the trees not being perfectly vertical. They are rarely that way in real life and it's a type-a fault to expect them that way in photos.
Warning: Mumbo Jumbo follows....
What I do see I really like about this is you are starting to portray the correspondence between the trees. Not written words of course (they'd use vellum not paper if they did), but a visual relationship, in this case from their similarity and position. I think this can be built upon with more photos. There is a duality between the path and the arrangement of trees. Some would say the trees composition show the path, others would say the photo shows the S-path with trees along it.
I think it's conspicuously missing from most landscape photos (and is not necessary for grand landscapes, but useful for intimate landscapes) We ascribe communicative metaphor and compare their relationship without even thinking about it as consumers or viewers... Charlie Brown's tree versus the colorful aluminum trees... Matched trees standing close together we might think look like a couple or siblings. Trees with hanging moss we might think as old compared to a tree that doesn't. Twisted trees seem strong like rope; a cord of three strand is not easily broken type of thing. Tons of subconscious correspondence relationships we ascribe to trees as abstract objects if we spend enough time looking at them in person. We can do that with rocks and or anything else common in the woods too. Some people do it with flowers in a vase but I like the serendipity/discovery of the woods.
If we are conscious of it, we can show some of that with photos. Placement in the composition. Light. Shadows I consider a communication between the trees. Not actual of course, but visually shadows from one tree touches another tree, etc.. Fallen trees versus 100-year-their-youth small trees, similar trees creating tension between homogeneity and transcience/disorder. Trees are a rich and nearly universal subject. I've been playing on my own with some of these themes as I shoot trees this winter... https://www.flickr.com/photos/13759696@N02/ (mostly medium format) and some from last year (8x10) https://www.flickr.com/photos/137596...7632415274849/ https://www.flickr.com/photos/137596...7632415274849/ https://www.flickr.com/photos/137596...7632415274849/ Maybe this deserves a book chapter and not a forum post?