Chuck wrote
>
> I really like Autumn Near Clyde. Also the mountains but think it needs
> more contrast in the foreground (but not much more in the sky)
>
> Chuck Norcutt
>
> On 6/14/2012 4:40 AM, Brian Swale wrote:
> > Hi all,
> >
> > For your entertainment, Five images I had printed this week.
> >
> > If you can, hold the paper up so the sun shines on it. They really come
> > to life then ! (Just kidding - viewing on a screen is as good as )
Thanks Chuck.
I did a kind of double-take when I first saw the autumn scene in front of my
eyes. It was such a messy subject, but I liked the concentrated colour and
moved in to get a better perspective. (I was on my way to capture more of
the poplars and the horse).
Then the car drove down the gravel road in the distance, making a dust
cloud. This gave a better sense of distance. I was already in a reasonable
spot, so I grabbed the shot while the dust was still there and before it
settled
( doesn't take long, even with no wind).
Re: the mountains shot. They are fully 55 miles (90 km) from the camera. I
just scaled it off an accurate map. There's a lot of UV light there.
I see from the name I have given to the file that I have already increased
contrast to the max I considered OK. I have hardly blown out the clouds. I do
not have the ability to selectively increase contrast.
Actually, I made this print as a possible basis for making a watercolour
painting of it, and in that process, if it ever comes to pass, I can make the
foreground whatever colours I choose :-) The cloud detail and fine detail of
the mountain crests are where the main interest lies in this pic. The
foreground serves merely to lead the eye to that central zone of interest.
IMHO.
So painters would intentionally blur this zone to ensure that the eyes went
more easily to the primary subject.
Brian Swale
--
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