Maybe a bit corny (aren’t sunsets always? ) but the bright sun on the reeds took my eye.
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I had quite a bit of PP to balance the sky and the land. I also took out the yellow that is always present in this type of shot. I like the lens flare. I did wait for a few Geese to cross - there are tens of thousands of them on this floodplain just behind my house.
As you can see I like centric compositions - it is a carry-over from decades of Rangefinder use
Is this a composite: No
Leica CL, 55-135
This image uses different directions of light very creatively – direct from the sun, diffused in the sky, reflected in the water, backlit and rim-lit in the grasses. Really fascinating. Thank you for the tip on reducing yellow in sunset images.
I was not able to get the image to go full screen or download. I had that problem with one of my images last week; I had not changed the color profile to sRGB from AdobeRGB, and when I recreated the jpeg file with sRGB, it went full screen and downloaded just fine. I am curious if that applies to this image.
Really beautiful image. Especially with the geese in it, in my opinion the flying geese really make the image and give it a peaceful, we’re heading home kind of a feeling.
I think it is the site playing silly buggers with the upload. Let’s see if it works this time…
Anyway, thank you both for your kind words. As to the yellow, all digital cameras seem to overdose on yellow with sunsets. I am fairly sure that the reason is strong IR light leaking through the IR filter on the sensor. You can see the same effect on for instance an open fire. I just edit it out using colour grading.
In the smaller version the image looks too dark. But when you open the larger version the exposure actually looks pretty good. I love the back light on the grasses, it creates such a delicate feeling. The other thing is that 50/50 horizon compositions usually get criticized here at NPN, but this is one of those images where it actually works well too. I think that’s because both the top and the bottom half have equally interesting things going on.
My only tweak would be to clone away the two large dust or water spots in the 11 o’clock position relative to the sun.
The reason that 50-50 works is that there is a second horizontal line in the top of the reed patch which is as dominant at 30-70.
Replaced by a “spotless” version
Good point about the that dual horizon.