Photographed in the same general area and at the same general time as the previous image, this one is more abstract in nature. I took even greater liberties in color and tonality with this one. I just printed it this morning and so far I feel pretty good about it. What do you think?
I think I enjoy this one more than your last one. Really enjoying the vertical striations throughout this one, particularly on the right half. Very sharp when viewed large. I don’t have a single nit for this image. I can see why you printed it. Very rich tones.
What are you doing to get the overall tonality? I’m particularly interested in the look of Paradise Lost.
Being color-blind, I tend to avoid trying any changes beyond what is called for by my gray-scale card, but I’m very much intrigued by your work with tonality. I may not be seeing it as others do, but in my gray-tinged world, it’s fine.
I like to photograph subjects in the light which gives me the tones I want to begin with. Paradise Lost roots were shot in very diffused directional light. The cloud cover was very strong at that time. For tonality I like to use the Levels adjustment in Photoshop for the global work. Local adjustments are done with luminosity masks. I also use the Brightness/Contrast adjustment globally. I find luminosity masks to make the work look just a bit artificial somehow, no matter how much feathering is involved so I do it sparingly. Although sometimes artificial is good.
The tonality of the image sets the mood so I vary it with the subject matter. However, I pretty much set the exposure level in the field on the LCD screen to match how I want it to look as a final product. I don’t expose to the right and then readjust everything in photoshop. But if I shot grand landscapes I would probably do that.
This is an intriguing rock, with great textures and lines. And your composition does a very good job of making the rock look dynamic, there is flame like “flow” to the rock.
Deep indigo is a color that we don’t often see in nature, so I can see why you were attracted to this formation. But I think after you live with this image for a while, my guess is that you may conclude the deep indigo has gone a little too far in saturation (and thus contrast). There are some interesting, but very subtle colors here, other than indigo. And IMO they are being crowded out by your processing of the indigo. I think there are some subtle nuances of color here that could be drawn out further by backing off the deepest tones of indigo somewhat. I think there is more potential in this image with a slightly gentler hand on the processing.
No, for the monitor I like it just the way it is. I have a copy where the darks have been lifted a bit. Yes, they show more information but it’s the absence of information that I think lends it that mystery. I should say not absence but hints of information in the darker (“indigo”) areas. The current print copy has the issue you mention but that’s still a work in progress.
I shot this for the purity of tones. Slate is black not indigo. This was shot in shade with reflected light and the WB was daylight. In dark tones that came out as “indigo”. The colors have been handled in post processing. I shot this with a low exposure.
Thank you for all the comments. I like both this one and the previous one equally. They’re really quite different. I think the previous one was more suggestive and this one let’s you go where you want with it.