The photographer is looking for generalized feedback about the aesthetic and technical qualities of their image.
Description
The past month, or so, has been too busy and I’ve been rather scarce. Fortunately a little of that time away was for photography, including spending a couple of nights on Mt. Hood. I have a few images I’d love your thoughts on.
Several times I’ve been up in the mountains after significant weather (typically wind and rain) has left interesting patterns in the snow, and I’d like to eventually put together a project of images of these. I’ve read that it’s not a bad idea to use the same aspect when working on a project, and the image that got me started down this road was a 2x3 vertical. In addition I’ve been finding the patterns are better appreciated if there is something included for scale, and so the images so far all include trees in some form or another.
With that in mind, here’s a vertical with some snow patterns and trees. (I’ve added a frame to the original picture posted; I decided I liked it better that way. I expect Igor will have a chuckle when he reads this…)
Specific Feedback
I have a horizontal of the top half of this that I may post too, but I’d love your thoughts on the vertical. Does it work well on its own? Do you think the diagonals at the bottom are too far from the interest at the top for the image to work, or does it all come together for you?
Technical Details
NIKON Z 7II
NIKKOR Z 24-200 f/4-6.3 VR at 130.0 mm
1/1250 sec. at f/8.0 and ISO 64
Handheld
Critique Template
Use of the template is optional, but it can help spark ideas.
Funny, I was doing something similar the other day on the edge of the Wisconsin river. The way the wind creates these patterns and textures is nearly infinite and so photogenic and you’ve caught exactly why in this one frame. I love having the trees (seedlings?) as a counterpoint. Their shadows also add a bit of contrast not just in tonality, but in the direction they’re pointing and their more jagged, less sweepy shape.
Those upward pointing streaks help direct the eye as well and how they are topped by a lace pattern is really intriguing. I imagine that the slight depression in the snow forced the wind to create more watery ripples and the change is really a treat. The topo map type formations at the top could stand alone with the little trees if you’d like to create a sub-frame.
On its own this works as a complete story and will probably help a triptych or other grouping you’d like to create.
Wow! This is wonderful! All the elements work together so well. The lines coming up from the LL definitely tie in to the little trees, because of the eroded texture in between, which even continues the lines. The tree shadows are perfectly positioned and the stronger texture above even points back to the trees.
I could see several compositions here – a slightly wider horizontal and probably several others. How long did you have to risk hypothermia to get the shadows so perfect?
It works for me John. This is sorta what I was looking for in my image 'Desperation" I really love the 3 distinct sections of snow patterns, especially the sweeping patterns of the bottom section. Looking forward to your horizontal.
The vertical definitely work, @John_Williams. Those ripples at the bottom guide my eye right up to the little pine tips and the wavy texture at the top pushes my eyes back to the pines when trying to escape out the top. There’s so much nice texture in the snow, too. I think I might like just a touch more room on the left to give that pine a bit more breathing room. Hard to judge scale of this scene, which is really neat. Are those full-sized trees or just the tips poking out of snow?
Hi John,
This is a wonderful intimate landscape that you found on your trip to Mt. Hood. The exposure of the snow is spot on with some amazing textures and details, but what I enjoy the most are those lovely sweeping lines in the snow as they reach out across the frame toward those little trees. Those patterns along the top work equally as well as they direct the eye back toward those same trees. The trees add a nice sense of scale to the scene and I am loving those shadows. I could see adding a little canvas to the left side just to give that tree on the left just a little more room, but that is very minor and certainly not a deal breaker. Beautifully done. Looking forward to seeing what else you came back with.
This is quite excellent! My first impression was that of an avalanche - or at least the very beginnings of one - right when the surface just starts giving away. At least that’s what it looks like to me with the interesting patterns around, just above and below the saplings peeking out. (btw, no real scale reference - those could be the tops of very tall trees, or the tops of 2ft saplings - not that it matters…)
I’m normally not a tall vertical fan, but everything in this image is working well together, including the all important rigdes/ripples in the bottom third or so. The shadows from the low angled light are also quite wonderful, especially the starker shadows created by the saplings.
I have no nitpicks or suggestions! That surface tension adds a very cool and important element.
Well I’m a numbskull; the format I’m supposed to be sticking with is 4:5, not 2:3. (The image I linked to is 4:5, sigh.) With that in mind I’m adding a version with that aspect ratio. Fortunately, I sort of bracketed the area and was able to stitch two images together to get the necessary width. That also allowed me to add a bit more room around the trees as several of you suggested.
Amazingly, we caught a warm and sunny three days. I was actually too hot snowshoeing past this area.
I like both of these, John, and I think vertical works really well for textures, especially if it is your hope to include a distinct element and have it offset in some way to emphasize its isolation.
FWIW, there is one change in the 4:5 that I don’t like as well as the 2:3. In the more vertical crop, the trees stretch more diagonally in the frame, and I did like that tension. (In other words, there is a ccr rotation in the wider crop).
Then again, if you want to create more stasis via the less vertical aspect ratio, a weaker diagonal might be just the ticket. It all depends on what kind of mood you want the elements (texture, objects, line, frame) to evoke.
And I don’t think that has to be the same in all of the images in a series, but if you are aiming for consistent mood, thinking about that now is worth ponder over a pint of Guinness.
John, the different parts of this view fit together very well. I like how the lines lead from the bottom to the trees and the rumpled section of snow below them. The extra texture (buttes) at the top adds even more interest. The 4x5 version feels more open. While a horizontal (or square) version using only the top would look good, it would be missing the sense of movement that the lines from the bottom add.
That’s a great observation Marylynne. I noted that there was the slight change when I combined the two images to make the wider version, but didn’t think anything of it. Looking at it now, though, I totally agree with you; the steeper diagonal is better, even though subtle. I’m adding another (hopefully final) version with more rotation.
I also keep forgetting to mention that I’ve been cloning out some animal tracks. I’m leaving them in the latest version as penance.
Thanks for the feedback @Mark_Seaver. Once I’m back in town I’ll be posting a horizontal that is just the top portion to compare.
