I found this arresting black spike rising from the forest floor that really got my attention. But how to capture the feeling? I had climbed down from the highway to an edge covered with bright green leaves partly obscuring what my eyes perceived. I finally decided upon this crop and not try to show it all descending to the ground below.
I couldn’t take more than 2 days of it. I finally got so depressed, packed up my bags and went home.
GFX50R, 32-64lens, f/16
Let me know how you think this could be improved. Thanks.
Leaving some place where there is fog in a redwood forest almost every day?
I could spend two weeks in a place like this and be happy as a clam.
I’ve only been to Redwoods NP once, and I was also fascinated by these “shards” of dead trees that stood like spikes in the forest. I think your composition is excellent, with great spacing of the trees, and nice use of framing. In this type of environment, it’s not easy to get everything lined up like this.
In fact I like the dual framing that you have, the first framing being the trees along both edges, and then the secondary framing created by the background tree that nicely sets off the two center trees. And I think that you included just the right amount of forest floor vegetation to tell the story. Showing more of the forest floor would diminish the story about the two center trees standing in the fog. Much prefer to see them "floating ’ in the fog like this.
If you had “Dark Thoughts” about this environment, then I think your processing is very effective at communicating those feelings. This processing does convey a sense of gloom.
If I wanted to try to convince you to stay for more than 2 days, I might suggest another look where one tries for a lighter feeling
This removes some of the natural green cast created by the forest interior, and goes for a lighter, cooler look in the fog. I know this was not your intent. I think both approaches can work, it just depends what feelings you want to express.
I think what I like most about Ed’s rework is the desaturation of the greens. Overall, I prefer the bluish cast to the grey/magenta one, though. Will have to work on this some more. Taking the green out of only the foliage and not the fog could be difficult. The bottom bush needs to have some yellow taken out as well.
That’s what I like about NPN. It gives me feedback that I hadn’t considered before.
Love this image, Igor, just how it is. The green cast is so calming and I much prefer it over Ed’s rework. The proportions of elements is really well done, with the left and right foliage and trees framing the central subjects. But what really makes it is the irregularly shaped mossy thing on the left side of the right tree. It gives the central elements a hierarchy. Well done.
Between the two versions, I like yours better. That said, I would move it a little toward Ed’s, but not a whole lot. The mood works well the stronger greens, etc.
This image is dripping with mood, Igor. The heavy fog has imparted an air of mystery to this woodland scene and that pointed snag only intensifies the sinister feel to this. I do not think this would be as powerful without the snag. Your spacing of the trees also works well and I like the fact that you left some greenery to frame the right and left sides. Hard to choose which version I prefer as they both work for me. I think this shows off your gloomy mood perfectly; although like @Ed_McGuirk I would too could spend days with these atmospherics.
I like this image very much. If I could find myself in conditions like this, I’d stay for as long as I possibly could! In your reply you mentioned taking the green out of only the foliage. I did just that with a color selection using the latest TK Go panel. Here’s the result. I left the fog exactly as it was in the original. Here’s the result.
Well, thank you Svetlana. But I’m a long way from Shishkin. He’s sort of a hero for me. I have studied his forest scenes over and over. You’re very kind.
I understand that fog can get you down after a while. I lived in Mobile, AL during college and during spring & fall, we’d have pea soup thick for days at a time, like 4 or 5 days, and you could see people getting really nasty & mean after several days!
I love this image! You really had great moment when you envisioned and composed this scene. Your version is excellent, but I like Ed’s rework a little more except I think he removed a little too much green because on my monitor I can detect just a hint of magenta. Great work!
Regarding the fog at this state park just south of Crescent City. It’s there at day break but the fog isn’t right until around 9am. I discovered that not all fog is the same. You need thick fog but it needs to be light. The fog varies along the 8 miles of highway and comes and goes. I’ve set up for compositions only to have it fall apart during set up due to lifting fog. So you drive up and down this road looking for ideal conditions and then you start looking for compositions. If you’re lucky to find one the fog has to remain until the shot is made. The fog lifts between 10 and 11 so it’s a small window.
There are 2 types of compositions - sunrays coming through fog or deep fog images. The first is lighthearted but has an even smaller window. You need a very narrow thick band of fog that breaks up when sunlight pierces it. The second type of composition is spooky, mysterious, and wonderful in a way. But doing those type of compositions, if your heart is in it, take a psychological toll. I started to get nightmares.
As for shooting such a place for 2 weeks. Personally, I can’t shoot anywhere that long. My seeing intensity drops and things start to become ordinary. Nothing stands out and seems worth the effort of doing the ‘visual research’. At such times I find it better to just leave rather than forcing myself to do what my insides don’t want to do.
