Flexbody + 120/4 CFi + CFV-50c
Railroad Buildings, Concord, NH
Fujifilm GFX 50R, 32-64mm lens
Ore Separation Mill Wall, Kennecott, Alaska, 2018. Pentax 645z, DFA 55mm lens, f/5.6 at 1/400.
Rick “stabilized ruin” Denney
Interesting!
Is the color straight out of camera or PS aided?
Tin Can
Very much like this one--anybody who can make a drip/dry anhinga look "artistic" has some skilz.
Assuming you’re commenting on my photo...
That question makes about as much sense to me as asking whether the color is just like it was on a color negative.
I start with raw images and “develop” them. And then I target the image to what I want it to look like when displayed, just as we have always done. But I rarely add saturation, or need much sharpening when using the big Pentax. I do usually work on macro and microcontrast, though, and often correct color balance (not so for this image that I recall).
None of my Alaska images went through Photoshop, by the way. I used DXO Photolab, which is more raw processor than editor. There is very little spot editing.
It seems to me the most important lesson of the Zone System is making sure the exposure and development place the tones of the scene where we visualize them. I follow that principle when making raw digital exposures—I don’t necessarily need or want the image to look good on the camera’s display, but I do want the histogram to be contained in the exposure. I can then adjust its shape during processing and targeting (printing), just as we have always done.
Rick “that wall was in open shade in a train car loading area” Denney
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