also increases the saturation especially the duck weed green to eliminate that burn out look.
also increases the saturation especially the duck weed green to eliminate that burn out look.
Flickr Home Page: https://www.flickr.com/photos/alanklein2000/albums
Alan -- do you notice how your version created a far more 2D image than the original? Pretty amazing -- darkening the upper portion brings the far trunks visually forward, so everything seems to be on or close to the same plane.
The original high contrast version is high-impact. Not something I want on my walls -- but perhaps small as a 5x7, where the detail-less areas are kept small. (or a larger print kept in the distance) where the blacknesses create a pattern that over-rides the lack of detail.
This is very different than the use of blacks by Brett Weston (and Donald Ross), where the mystery of the blacks carry much weight. This is more back-lit stumps and trunks making a great pattern. The bright colors in the foreground removes a lot of the mystery...not that this was what you were after.
"Landscapes exist in the material world yet soar in the realms of the spirit..." Tsung Ping, 5th Century China
Great observation Vaughn! There was something that wasn't sitting right with me, and you've hit the nail on the head! The feel of receding is something I do try to get when photographing with a wide-angle - and a lighter background makes visual sense. I'll definitely have to think about that more.
Corran, I don't do color work anymore, but regarding b&w I do recall AA suggesting the use of a #47 (C5) deep blue filter to enhance the 3D effect of distant bluish haze. But the rather large filter factor may tend to create some reciprocity issue.
I used a screen copy to work with the photo. So the small number of pixels may have caused the effects mentioned.
Flickr Home Page: https://www.flickr.com/photos/alanklein2000/albums
No -- it is solely due to your darkening of far distances with your application of a gradient (for burning). It is something we had to train our students not to do -- they so much want to darken those far mountains and sky, but they just end up removing any sense of atmospheric distance...or they will darken the trees and mountains behind a lake -- making the reflection lighter than what is being reflected (that rarely happens in the 'wild'). One can mess with the relative tonalities all one wants, of course...as long as one is aware how the changes will affect the way the viewer will interpret the scene.
"Landscapes exist in the material world yet soar in the realms of the spirit..." Tsung Ping, 5th Century China
Image made with an Ebony 8x10 using a Fuji 300 lens on Provia film.
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