2012 Landscapes

Two very wonderful and arresting images. I think I particularly like the first one. I can only imagine what they must be like as prints.

Alain Briot said:

Spiderock Sunset​

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Alain,

Sharing these beautiful landscape images is a pleasure for us!

I'm interested in the construction of this particular picture since it's been made in a definite and unexpected way. Most of us would have gotten a longer lens to grab the distant dramatic rocks and place them in an horizontal frame with no distractions. Here, instead, we have an extraordinary, (and at first disruptive allocation), of important real estate to the roundish plant-covered rocks in the foreground.

However, this unexpected composition works rather well! Here you have departed from the expected and we can now imagine resting here, by the living rocks and looking ahead to the amazing sculptured vista in brown, drier and jagged weather-carved rocks. By anchoring the image thus, I feel that you've added a personal element of human presence and so the picture has more meaning to me.

Asher

Asher Kelman said:

Alain,

Sharing these beautiful landscape images is a pleasure for us!

I'm interested in the construction of this particular picture since it's been made in a definite and unexpected way. Most of us would have gotten a longer lens to grab the distant dramatic rocks and place them in an horizontal frame with no distractions. Here, instead, we have an extraordinary, (and at first disruptive allocation), of important real estate to the roundish plant-covered rocks in the foreground.

However, this unexpected composition works rather well! Here you have departed from the expected and we can now imagine resting here, by the living rocks and looking ahead to the amazing sculptured vista in brown, drier and jagged weather-carved rocks. By anchoring the image thus, I feel that you've added a personal element of human presence and so the picture has more meaning to me.

Asher

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From a technical perspective Mono Lake Dusk was created about 15 minutes past sunset, so the original scene was quite dark. The image shows a light level higher than what the human eye sees. Spiderock Sunset is a collage of 3 horizontal photographs, the only way to capture such a wide field of view with a medium format digital camera.

From an artistic perspective both images have been worked to create a specific color palette, blues and yellows for Mono Lake Dusk (complementary color harmony), and green/orange/blues (triadic color harmony) for Spiderock Sunset. These color palettes are part of my personal style, and so are collages, extensive foregrounds, and the use of post-sunset or pre-dawn light.

Alain Briot said:

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Mount Whitney at Sunrise​

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The rust covered mountain of rock is so handsome. But the details of the trees at each end of the panoramic view and the thin line of trees in the foreground, really give a special presence to the picture, making it especially pleasing and "completed". What if clouds had come along? How would the composition have changed? but it didn't so no need to ponder that.

Another enjoyable landscape. Thanks again,

Asher

Thoughts and Tips number 1 : Fine art landscape photography is about natural light

In Fine Art Landscape Photography, we photograph the light first and the subject second.

This is because the best subject in poor light will not look good. Think about how many photographs of the Grand Canyon taken at noon you have seen. None of them look very good even though we all know that the Grand Canyon is an awesome sight.

On the other hand, a subject with minor interest in great light can look great. This is because light is the most important aspect of photography and good light has the potential of making just about anything look great. Think about photographs of subjects you have never thought of photographing before. All of a sudden you find yourself wanting to photograph this subject. The beauty of the subject is revealed by the quality light used by the photographer.

Of course, the goal is to get great light on a fantastic subject! If you have both, then you have the makings of a superb photograph.

Alain Briot

Thanks for sharing the tips on light. It's interesting that it's opposite to Michael A. Smith who declares that there's no bad light, since one can see what's before us and also at noon, the subject doesn't change moment by moment as at the end of the day. He sells a lot!

Still, I'd rather start photography with your tip on light as it fits in with my own love for the dimensionality and colors that maximize in dawn or sunset. I know of no light to match evenings in Tuscany with foliage and rocks bathed in gold.

Keep the tips coming!

Asher

Asher Kelman said:

Thanks for sharing the tips on light. It's interesting that it's opposite to Michael A. Smith

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It is quite consistent. The tips are opposite. The picture styles are opposite as well. Doesn't it make sense?

I'll keep the tips coming. I thought I'd start with number one.

Not familiar with Michael Smith. Is his work on the forum?

Alain Briot said:

I'll keep the tips coming. I thought I'd start with number one.

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Great, looking forward to more tips from you!

Alain Briot said:

Not familiar with Michael Smith. Is his work on the forum?

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Well, it's a special treat to know of Michael and his wife Paua Chamlee. They run the Lodima Press, (Amidol backwards, LOL). The print at an amazing quality books on the Westons and other photographers.

They are guest artists in a section of the forum for museum collected artists here[url] and they deliver a picture each every 2 weeks for us to discuss.

It's an experiment. A lot of folk are intimidated to get into a discussion. The guest photographers will answer questions, but are not generally expected to get involved in any discussion.

Asher

Thank you Asher.

Asher Kelman said:

A lot of folk are intimidated to get into a discussion.
Asher

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The thought of doing what we have never done generates anxiety.

Alain Briot said:

Mono Lake Dusk
vertical 2 images collage​

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Alain,


This is extraordinary in its simplicity and unique way of approaching an oft photographed national natural monument. Are you exclusively using MF now for this landscape work?

Asher

Pretty much. The vertical panorama is a Phase One, two captures collage.

Alain Briot said:

Mobius Arch​

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Alain,

It's an impressive scene. I wonder if you have also taken snapshots of the folk at a workshop with that in the b.g. It would be interested to see the scale of things.,

Asher

The arch is about 15 feet high.

When I started shooting weddings I marvelled at the work of the top guy in my particular area. No his work was not new or modern or 'cool'. However it was meticulously perfect. Every angle of every finger was calculated and perfect. To this day as he heads into retirement I will never forget his portraiture.

Your work inspires me in the same way Alain, every single detail is thought out. Not just composition of shapes and angles but all that with the inclusion of composition made up of colour and tone as well to make a breathtaking whole. Every detail is coming together in a harmonious mix. All that and without being in any way clinical. I think this, rather than the 'cool' or the ubiquitous and horrible instagram look, is makes art which will stand the test of time.

Just to take the picture above. The angles and positioning of the sky, the mountain within the arch. Perfect. The lighting on the arch to add the deep contrasting colour of light relative to the sky and the desaturated fore ground. The glorious shadow adding depth and shape thrown by the arch. The balance of thirds throughout. That is just the beginning. The curves on the left contrasting the more angular shapes and shadows on the right. The darker area on the left bringing the eye via the arch curving into the light. That triangle of shadow on the right teasing the eye to the correct starting point for its journey through the image. I kiss the tips of my fingers in a continental fashion in appreciation!

Not that a photographer always analyses all of these things so much in the field, we are people not machines but the training of the eye is what makes the mind see in such a fashion.

Thank you very much Ben. What you describe is an accurate representation of my approach. I spend a lot of time paying attention to details, both in the field and in the studio. The composition is carefully organized in the field, to the best of my abilities and taking into consideration the limitations imposed by nature (I can't move the rocks or the trees!). Then I spend a large amount of time converting and optimizing the photograph in my studio. What you see is the outcome that you see is a long way from what the camera recorded. It has to be that way otherwise I'd be showing what the camera captured and not what I saw and feld.

An artist who uses what was captured on the film/sensor as a sketch, the building blocks of transferring the image in the mind to paper. I think that the sooner that it is recognised just what is being done by artists rather than under the title 'photography' the sooner people will be able to see past artificial rules created by those who rejoice in being photographers but whom are missing the artistic possibilities.

I've often said that if I could sketch or make a piece of charcoal sing, I'd never bother picking up a camera again. I cannot and as such my life is that much harder. I have several images in my mind that have been there for many years. Trying to find them, that's the hard part.