Algonquin Red Pines

I don’t think it’s coincidental that while post processing this image, I was also reading “The Overstory”. I didn’t take up working on this image until seven-months after I clicked the shutter. So, a lot of time has passed and I don’t exactly remember what I was feeling when I took the picture, but as I began to work on it in post – no doubt influenced by the book – I began to imagine three Red Pines in an intimate conversation. But this all gets pretty fuzzy for me in terms of the merits or problems with this picture. Does it, in fact, hold your attention? Do you get a sense of intimacy and relationship? I’d love to have your feedback.
I also want to tip my hat, first to David and Jennifer for generously offering some wonderful webinars that have provided a certain sense of calm amidst the current storm in which we all find ourselves. And second, in particular to Alister Benn, whose recent webinar presentation was so illuminating. We can’t all be professionals, but we can all take better pictures if we commit to pay attention and go deeper. This image of mine benefitted right off the bat by changing the aspect ratio from Alister’s dreaded vertical 2:3 to vertical 4:5. I realize that Alister isn’t suggesting a formula or a rule, but certainly in this case, 4:5 got me closer to my intention than my 2:3 in-camera framing.

I really like this image Kerry. If I might suggest something though, maybe enhance the separation of the trees with a little dodging and burning? Looks like the light is coming from behind you and to the right. Maybe enhance that light and dark a bit? Create a bit more contrast?

You definitely nailed the two trees in the foreground that are sharper and the back tree a bit more soft, also creating depth. And it looks as though maybe the back tree is a tad bluer? Maybe add a tad of warmth to the fore trees? That will also create a bit of depth between the fore trees and the back one.

But this is just my opinion. You know what they say about opinions haahaa. As @Alister_Benn says, it’s your image, your vision. (I tagged him so he can give his 2 cents worth) You can do what you want with it. But maybe give it a try, see if you like it. If not, eh… no harm done. :wink:

But yeah, I like the idea you’re trying to convey. Its not what you normally see. Very nice!

I can see what you imagine with three red pines having a conversation, Kerry. But I must say that I wouldn’t have seen them that way if you had not mentioned it. I think the light on the trunks is gorgeous and the texture is also appealing. However, the central trunk being out of focus is a little bit of a problem for me. I get the sense of depth from it but with the tree being in the center, it becomes some sort of the main subject yet does not deliver because of the sharpness.

@Barbara_Livieri. Barbara, thanks for your carefully considered response. Your feedback is much appreciated. It is interesting that all the things you suggested were part of my post processing including doing some light painting to add more of the warmer reds and reduce the blues. I was aware that the trees in front needed more separation from the further tree. I tried darkening, lightening, adding some blur, more contrast and clarity in the foreground and, pretty much, all that you suggested. What I ended up with was a “crunchy” mess. Before I tossed it aside as a lost cause, I went back step by step and started trimming back , particularly on the dodging and burning and contrast. The problems you cited are an issue, I agree, but I wonder if they are problems that were generated when taking the picture that can’t be wholly worked out in post. I’m thinking of this image as more of a sketch - something I’ll come back to in the future with this experiment in mind and see if I can’t get just a little closer to what I’m aiming for. @Adhika_Lie And this leads to your comments, Adhika. I agree with you. However, I don’t think it’s a problem that can be adequately worked out in post. Next time I might try getting in closer with a wider lens, which might maintain the sense of depth but also allow the background tree to be more in focus. This image is, I think, a worthy experiment that needs further work in the field.

I totally understand. Not everything can be worked out in post. But if you are close to that tree, visiting it at different dates and times might produce better results. Enjoy the process! I have a similar one that’s near where I live that I keep going back to again and again. If you enjoy the nature, it will never be a chore. Enjoy!

Kerry, this is a major departure in style from the the types of luminous/foggy images you often post here at NPN. It’s nice to see you taking some risks like this, and pushing it creatively to tell a story that you want to tell .

The concept of having three trees “in intimate conversation” has the potential to be a compelling story. I agree that the use of 4:5 instead of 3:2 enhances the feeling of intimacy, good call in that regard. As presented I see a couple things that reduce the “intimacy” factor. The first is the out-of-focus tree, as discussed by @Adhika_Lie. The varying focus creates separation not intimacy for me. I also think the dappled light has the same effect, again the rear tree is slightly darker which also creates separation.

My take on this image/concept is to create intimacy by extreme depth of field, and uniformity of light. I would suggest trying this again using focus stacking to get everything sharp, and do it on an overcast day. This would allow all the trees to blend together.

This image reminded me of one by William Neill that I saw in Outdoor Photographer of a lichen covered tree against a rock cliff with the same lichen. In this shot shot Neill used extreme DOF, and uniformity of light, color, and texture to create an extreme sense of intimacy. That may or may not be your vision for your own image here, but your shot reminded me of Neill’s effort.

@Ed_McGuirk. Your feedback is always considered and much appreciated. I agree with everything you have said. But without having made this photograph, it would all be theory. As I move about in the forest in my future travels, I will have this and other images as a reference. Even though I began photography because I wanted to share my wilderness experience with others, I have actually come to love taking photographs of people - street style or informal portraits using limited or natural lighting. But its slowly sinking in that the same principles with regards to intimacy apply whether I’m taking pictures of people or of trees. At some level I knew as I was working with this image in post that it was “off”. But I know that if I do enough sketches, I’ll get where I’m trying to go even if I’m not exactly sure where that it is. Thanks again for your feedback, Ed, and thanks for pointing me to William Neill.