Always picture with end in mind. Make life easier for the boy in the darkroom, or the person in the literoom – usually you.
One thing I learned very quickly in my photographic career was that if I always tried to make my photos in mind, it would not only be easy to life when I printed my images, the quality of the image would also improve the quality of the image. Being this case, how should I do this? The scheme is a major part of it. What do you want to do? The best time of the year, what is the time of day? What equipment will you have? And if you are going to do backpacking or camping, do not forget the sleeping bags and tents.
For this image, and because I knew that the hike would be about 4 1/2 hours in a very thick area, I planned to get out of the base camp just before 5:00 am, while it was still dark. Knowing that there was a huge sandstone wall between my subject and the sun, I knew that I would have about an hour before coming to the raw sunlight. Later any wait will mean that the normal breeze around the sunrise can be wrinkles on the surface of the water, which destroys the desired mirror -like surface. BTW, this was done in early November.
I read an quotation of Mies Van Der Rohe that applies: “God is in details.” This reflects the importance of focusing on the fine points of a project or work – a picture in this case – because these details are important for its overall success and quality. Real excellence lies in careful attempt placed in small aspects of our work.
It is necessary to pay attention to the details. this image, Angel ArcI was one of the first images made by me when I started the aspiration of Fine Art Photography to make my career route. I had very little thought what I was doing, but I was reading the book of Ansel Adams negativeAnd it was read that some great photographers used the TRAI-X Ortho film, so I ordered a box of it and loaded some film holders. My son, a good friend, and I went to Canianlands. At that time, it was possible – and legal – to drive your vehicle correctly depending on this structure, so we did. I have the great regret that I selected a very bad film for this purpose. It is a very heavy grain pattern, and so it is a great image that I think it is married. So plan your media, whatever happens.
See edges
As you are creating an image in the field, looking back at your camera – it can also mean that your camera visible – look for the things that are out with the image that you expect to print in your dark or use your inkjet printer.
See to distract the edges
This image was very difficult because there was so much material with the edges of the scene that I wanted to portray. So I had to be very careful and very strategic about the edges – what will I include and what will I remove. It is best that later in the camera in the darkroom or literoom.
So many times, I have looked carefully on the ground glass of my camera that just to see something that should not be clearly. Some incompatible hicker left a cigarette butt on the ground, or worse – a dirty pamphres! Step into your creation and remove the distracted or derogatory object. I have tried to make those things a habit of carrying them out with a plastic waste bag, so I will remove them from the scene and pack them out. Another common thing is that I say infiltration – perhaps a weed that has died in the foreground and is proud and strong in the immediate foreground. In addition, look for tree branches on the shore that will be a distraction. I take some bungeed cords in my pack so that I can tie them back, while the exposure is being made and then leave them when I am doing it. I have no resentment about cutting it or taking it out or bending it. This is very easy, to deal with here, in the area, it is later to deal with print spotting or in Photoshop. Also, you leave it better as you found it, so the next passengers can enjoy the outside.
Look for interesting texture
One of my favorite things is to try to contrast the texture. In this image, A seed Junipar, Arches National ParkThe way I attracted branches opposite other branches from splashes at different angles. In addition, it was growing out by the opposite texture of the bark against the needles and berries of the juniper plant and against the texture of the sandstone.
It is the texture that makes a picture feel a touch, almost as you can touch the bark in the picture and feel its rough skin.
Plan your time and plan your exposure
In this picture, Sunlight Castle, Capital Reef National ParkI knew that this structure would have a direct sunlight on this structure an hour ago, so I planned to be there, and in situation, when it happened. What I did not know at that time was that the wall of the valley in the background would cooperate so well in the production of the picture present in my mind, because I was not fully sure how the sun’s angle would be related to the mouth of the valley. With this falling into the shade, the statement was very complete, as it was done. I wanted that when using the Photoshop information tool, the light -reflected light at the top is about 250. (Keep in mind that there are 256 available tones, so I wanted them to barely highlight the detailed detail. Any lighter and they turn white without any detail.)
It was an interesting picture to achieve. I knew what I wanted – what I saw in my imagination. It was a challenge to find the right place. There are no roads here; It is just a cross-country, and there were hundreds of motorcycle tracks. What I wanted to do was to find a place that had low motorcycle tracks and then to make an exposure, while Suraj kissed the top of Messa, before it began to highlight the stains that the land bore. I wanted the lightest part of the image to print as Zone VII with a falling shade for Zone III. Translates to digital photographers, when information in Photoshop is measured with equipment and measured to come at about 45–50 for the most dark areas of the foreground. When printed, it made it even more interesting, it is that two layers of clouds were flowing in different directions, so they painted as a more interesting and unexpected sky texture.
The main picture was made for this image as I was running out of Shiprock, New Mexico out of New Mexico. As I came on an increase in the highway, I could see a funnel cloud – very low near the peak of a Gustanado -Betate, which is a volcanic Falav, a few miles south of the formation of the Shiprock, known for New Mexico. Of course, by the time I could reach there and set it, it had disintegrated, but still had a very interesting cloud structure.
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