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Just wondering if you also happened to shoot this in horizontal orientation? If so, please post it also!Quote:
Originally Posted by pdmoylan
I think the size is fine for viewing once I click on the image. Great job, especially given the low light and long exposure!
Michael,
To incorporate a fair portion of the yellow foliage in an horizontal, I would have to moved back considerably, perhaps losing the salient aspects of this view, or change to a 75/65MM lens. I already was carrying 3 lenses but not a 75mm or wider, so did not consider a horizontal. Remember that I am already risking neck and limb by climbing on damp rocks, meaning sometimes images are a function of safe traverse and limitations in focal length. My arthritic shoulder prove out that 3 lenses was my limit when hiking.
Best,
H20 - No dog or fight for me, no offense from the "critique" by Barrister and Creation Bear - in fact quite the contrary. Sharing of ideas and approaches should be embraced, no? Obtaining good LF images requires significant seasoned craft, opportunity, decent vision and good composition, and above all, a body that can withstand carrying 25-35 pounds of equipment (plus tripod) on a regular basis. Scars from dislocated and arthritic shoulders from 20+ years of this passion are worth the effort, IMO. Pardon my didactic approach, but 12 years of teaching outdoor photography comes to the surface every so often.Quote:
Originally Posted by h2oman
Attachment 210654 Nikkor 150MM F5.6W Velvia 50
Attachment 210655 ditto
Adirondacks images, ala Porter. Both along Route 73 NYS
Creation Bear, agree that Porter sought tight comps - something to learn from. His use of Kodachrome and early Ektachrome and Dye Transfer printing techniques can't be matched today. DR was much lower with those early films than today's Portia/Provia. Thanks for your input!
Ha, my treads are showing a little wear as well--though mostly from a few decades of backcountry fly fishing.:) Speaking of Porter and printing, here's an interesting video if you've not seen it: https://www.youtube.com/watch?v=CslJoMRd1es. I've only encountered his work in books (though I understand the fidelity of those were pretty good)--rummaging around that era's C-prints must be a treat indeed.Quote:
Originally Posted by pdmoylan
Otherwise, I very much appreciate you sharing what you've brought back from your encounters--I've done only the most rudimentary color work, but the color palette of the "graybacks" with Velvia has me thinking...
Listen - is this worth calling me out? Are you the police of this forum, is this the biggest problem you have to solve in your life: what category I'm writing under? For God's sake, I'm disgusted with that kind of pettiness. How about if I don't post anymore, and cancel my subscription? Then you can be sure I don't break any more of your important rules. Good?
An example of an image (Dunes, Stovepipe Wells) where, for me..."extreme" back movements were crucial for my interpretation of this scene:
Attachment 210656
Another example (Yucca Pods, White Sands), but this time...absolutely no movements were used:
Attachment 210657
Love the dunes image, John! And, yes, a perfect example of where extreme back movements really helps image presentation, IMO (and yours, too, apparently.)
The dunes image is wonderful, but since I don't know the scene, what movement did you use and for what effect? Who knows, maybe I'll learn something.Quote:
Originally Posted by John Layton
Cool your jets. It was a gentle reminder to a new member and while true, it was not a 'calling out'. To keep the LFPF a well-oiled machine, there are rules and procedures that help to keep it so. Thank you for your participation.Quote:
Originally Posted by Barrister