(If this is a composite, etc. please be honest with your techniques to help others learn)
I don’t do composites - this was taken by hand - no tripod - D850 - iso 1800 1/80th sec - Tamron 24-70 @ 70mm
Jim,
I like this classic, Savannah - Southern charm scene and composition. I don’t think it’s too dark, or too light; it’s just right in terms of luminosity and tonal range. I think the difficulty might be with the b&w in general - or I should say being able to separate the Spanish Moss(?) that hangs from the trees in which these compositions/scenes are so known for. I do like the shadows on the drive and grounds - this works really well in b&w. Also, that car at the end of the drive - it’s far enough away that when I first noticed I envisioned an old Model A… it could be…
May I ask why you chose to convert to b&w. Don’t get me wrong, I don’t think it’s a bad choice; b&w does very well to simplifying things just down to light, contrasts, shapes, tones, etc. The tunnel effect and lead-in are emphasized nicely. The reason I’m thinking color is maybe being able to separate the moss from the trees. But then again, the original might not have the right look.
The only small suggestion as presented, might be to burn down the lighter parts of the trunk on the left edge; the eye is drawn there mildly. I wouldn’t crop as that tree helps frame the scene.
Lon
Thank you - I appreciate the input - I originally took it in color - but it did not look right to me- to me at least, it looks better in B&W. I started in B&W a long time ago, and still tend to look for those type images. As you noted though the color is easier to see the Spanish moss hanging from the trees.
I attached the color file.
It’s not too dark for me either Jim, although I could see adding a slight vignette effect to emphasize the center, and agree with Lon about that left edge. Seeing the color, I do think I prefer the BW.
I do like the classic tunnel effect; amazing how small the car is at the end.
I like both versions, but I believe the color version makes the car more prominent. Either way, nice composition. Thank you for sharing!
The image looks busy to me despite the fact that the composition is straightforward. I believe that’s due to the harsh light conditions which resulted in a contrasty image. The contrast makes it look busy. I would reshoot this under more diffused light (high clouds).
For it to really pop for my eyes, I’d like to see more detail in the trunks and limbs. Wouldn’t have to change anything else if you could accomplish that. I admire this type of image and have played with any setting I come across. And those that come off best for my taste have that texture. And yeah, for me they almost always come off better in BW.
Jim,
Thanks for posting the color original for reference. I think Igor is right in that the light is pretty hard, which of course washes out some good color, but is actually holding up pretty well. You still get the tunnel effect, but in the end I think the b&w is more effective.
I will disagree slightly in that considering this is more about graphics, contrast and that lead-in, tunnel effect composition, I don’t need detail and actually think MORE contrast may help in that effect.
I went ahead and played with this a bit. I did use Nik’s Silver EFex Pro to convert to b&w as a starting point. I increased the contrast - which caused more loss of trunk detail, but also brightened the mosses a bit. I burned the tree on the left, but it’s so bright that I also used some cloning on a new layer and painted in some darker texture at a low opacity. Also, filled in some bright patches of sky up top. Finally, I burned down the corners and outside a little, although no vignette is visible; but also, I dodged the underneath side of the canopy leading from to back on both sides to brighten (which also brightened the moss more) to accentuate the pulling in of the composition.
The great thing with b&w is that we have the leeway and latitude to take things more extreme than you can with color. It’s that reality thing…
Changes aren’t huge and may not fit your vision. Thought I would take a shot anyway.
Lon
Something interesting happened in the manipulation. In the original I never even noticed the distant car. Now it shows up clearly, and in fact becomes pivotal for me.
Thank you for all the replies - Lon, you’re version makes a big difference, thank you. I will play with it some more and see what I can do.
