Mesquite Flat Sand Dunes, Death Valley NP as imagined through ICM.
Revision based on feedback posted Mar 25, '23. Edits: removed rogue dust bunnies, dodged UR corner just a tiny bit. Added a smidgen more on the left side.
Type of Critique Requested
Aesthetic: Feedback on the overall visual appeal of the image, including its color, lighting, cropping, and composition.
Emotional: Feedback on the emotional impact and artistic value of the image.
Specific Feedback and Self-Critique
Thanks in advance, Tim, for your feedback!
Over the past 18 months, I’ve embraced ICM as a technique for exploring alternative ways to interpret a scene. Doing so moved me through a creative block and has resulted in some of my favorite-ever images.
While at photo workshop at DVNP (is it okay to give a shout-out to the amazing TJ Thorne and Alex Noriega!?!) this January, I regularly incorporated ICM into my photoing. I adore the way this image turned out.
Points I appreciate: the balance, gradations, lines. In my eyes, it’s a successful ICM (Is a “successful” landscape, though?).
Curiosities for critique: As with my other dune image submitted, I’m sure there are new ways to look at this image, and I’m too close to it to see what could be different.
Aesthetics: I’m interested in any feedback on the aesthetics, esp. tonal range, composition/cropping.
Emotional: I’m wondering what emotions arise when looking at this; what do you feel? Where does it take you? What’s missing from the story?
Competition angle: This is really my main curiosity, because landscape as a genre is new to me. I sometimes feel a bit numb to the “epic” vistas… I definitely appreciate them, and they inspire awe in me… after DVNP, I have a 1,000% appreciation for the skill and energy that’s required to get those images. That said, it’s not my grove. I’m more intimate scenes and abstract perspectives. So when it comes to entering an image like “Sandswept” in a landscape competition, I’m wondering if using a technique like ICM on a traditional scene is too much of an acquired taste to ever make the cut. My assumption: when flooded with hundreds/thousands of technically strong images, the subjective response becomes more important. And outside of my bubble of ICM fans, I don’t have a sense of how seriously it’s considered. To me, a well-done ICM likely stands out in sea of “tack sharp” images, which is what I’d want… and yet… Your insights on that would be very appreciated, Tim!
Technical Details
Canon EOS R, 100mm on a 100-500, f/25, 1/5". Regular processing in LR: slight clarity boost, spot clean-up. Attaching unprocessed version for comparison.
Wow!! I’m not a landscape-focused person, either, but I think this is an incredibly beautiful piece of art! And what a great job of finding the picture in the original and bringing it out! I love the soft lines, movement and colors.
I wonder about including just a little more on the left, to let the interesting detail mid-frame come to an end. And maybe soften the triangle in the UR just a tad.
Thank you, Diane, for your lovely comment and thoughtful suggestion for consideration. It’s been almost two months since I processed this image, and it’s the first time since then that I’ve re-viewed the unprocessed version. So now I’m going to take your wonderings and see what a fresh eye will bring to it. One point for my clarification: when you refer to the triangle in the upper right, can you do a quick notation on the image to show me precisely where you mean? On the processed or the original? Thank you!
I totally agree with @Diane_Miller that this is a stunning photograph. So many beautiful layers and shapes. Your crop was perfect for this image. The blending of colors really brings depth into the hills. This would be beautiful hanging on your wall. Great job.
This is exceptional Beth, and that’s from a guy who isn’t really into ICM. I love the way the dunes have a slight windswept realism, and the way that is lost as you move up in the image. The cool/warm pastel contrast is also a winner, and the ebb and flow of lines you were able to keep despite the camera movement are really eye-catching. No suggestions; just enjoying.
Beth, this is just hands down incredible. Fine art at its finest. I love the subtle ICM, it makes this so much more powerful. It has such a calming influence. Very peaceful. Definitely a candidate for a competition. Thanks for sharing, Beth.
David, thank you so much!! I’m really grateful to know how you feel when looking at it, as well as for your affirmation that it’s a competition-worthy submission. Hooray!
I LOVE, LOVE, LOVE this image. Indeed it does stand out. If anything, not because it necessarily stands out against a “sea of tack sharp images…” but because it’s refreshing to see this approach, technique on such an ubiquitous subject like sand dunes. Dune images (like your othe post) can be dramatic, breathtaking and certainly are a great subject for graphics, shapes, lines, light and shadow… on the flip it’s like the milky way or other favorites, everybody does them.
To your image, I love the soft, almost pastel colors and the lovely balance between the warm and cool tones. The soft shapes, forms and lines are wonderful. A beautifully executed ICM.
For the objective, “technical” critique, and this is actually more important because you indicate you’re looking to put this in competitions? Call me Mr. Dust Bunnie, but I see one glaring spot right in the middle of the lower shaded area. Opening up the much larger view and I see a handful of less noticable ones. Not sure what your workflow is, but one of the very first things I do - in ACR/LR or wherever, is to do a 100% zoom check for sensor dust or any tiny, unwanted artifacts. Get it all cleaned up then you don’t have to worry about it after you’ve done work on the file.
The other very minor suggestion would be to burn down, or otherwise very slightly darken the brightest part along the top edge. Very minor and completely a personal choice, but thought I would mention.
I have been a big fan of the ICM for a few years now. And like you I don’t necessarily seek this out all the time, but it is always something in my tool bag that I will go to when I recognize a potential situation. I’m hoping you have some more and I would encourage you to check out our Abstract Nature gallery!
First, OMG, I can’t believe there are spots on this! There are! Egads. I’m embarrassed. Fixing now. In my workflow, it’s the first thing I do after I determine the image is worth processing, and then I go back before it’s “final” to do another check. My only excuse is that I probably processed this while I was there and my tired eyes were not seeing properly. A great reminder to save editing for when I’m fresh, no matter how excited I am to see what I’ve got
I’m going to do that right now and will also look at your other suggestions at the same time. Will repost. Eeek.
Most importantly, though, THANK YOU for your very kind words in sharing your response to this image (sensor sins notwithstanding). That means a lot to me!
Fixed! I feel doubly bummed about the spots, as this was one of my images included in this month’s ICM Photo Mag, and boom, right there on page 119, I can see the darn spots. Oh well, live and learn.
And I’m definitely heading over the Abstract Nature gallery. Abstract is my happy place
Thanks again, Lon!! I very much appreciate your feedback!
Aesthetics: I agree with the previous comments so will add my thoughts on the edited version. It’s a well chosen crop. I know with ICM that getting framing in camera is hard so a lot of the work is in editing and post processing/cropping and you’ve made some good decisions here. There’s a strong sense of movement toward the left that I like, particularly that scimatar shaped dun in the middle that arcs toward the left, catching the sunlight.
Emotional: The abstract nature reminds me of waves and sunlight - a very calming image. Without a subject to relate to, the feelings are typically simple in response…
Competition angle: Regarding ICM/Desert. ICM images have been done so much that in our competition they don’t tend to do well and those that do use small amounts of movement that keep the main subject of the image identifiable so we can apply our rules about representation of subject. I think your images here are on the borderline for those rules, I certainly don’t think they would be thrown out. The images that have done well have been similar to those nature images produced by Valda Bailey who produces really interesting examples.
Here’s a couple of examples from Sandra Bartocha which I think have that combination of movement but also detail that I think would interest the judges
So I’m sure ICM could do well in the competition but they would have to surprise the judges a bit with something original beyond something they may have seen before. I hope that makes sense?
