The photographer is looking for thoughtful feedback on the image as a whole, especially around the areas noted below.
Feedback Focus: Artistic / Expressive
About This Image
I’m not sure it this can be called a grand landscape or not. This is a composition I’ve wanted to make for several years. It’s on a turnout. I’ve always found it pleasing to the eye but could not get a composition that gave me the uncumbered feeling I got standing there. I think it was because I tried to just have the trunks without the pine needles.
Feedback Requested
Now that I’ve made the image(s) which one is better? And why?
I’ve chosen to go pretty bright on this one. Do you agree?
Technical Details
Version A
Camera: FUJIFILM GFX 50R
Focal length: 49mm
Shutter speed: 1/100s
Aperture: f/11
ISO: 200
The 2nd, Version B is the clear choice for me. Honestly, the first one feels more contrived, a forced composition. What it does have going for it is that you included the pine bows and you’ve got a nice set of clouds in the right panel.
The brightness/luminosity of both seems appropriate to me.
The 2nd, pano format version just comes across as more purposeful, creative and effective in pulling off this viewpoint. Even though I’ve never stood there, the 2nd comp brings me there - if that makes sense.
The second pano version just has more interest as well. I like that the pine bows are illuminated better, I like that the shadows across the meadow have more presence and even the shadow across the mountain is better. Oh, and I like the variety of color and luminosity in three trunks. This just works.
I like odd numbers and panoramic images, but, contrary to the others, I prefer the first. The tree on the left in the second image keeps drawing me away from Mt. Bachelor, which, to me, is the main subject of the images.
I’m finding Version B more to my liking. I like the bigger scene in the second and the pine needles are just right. But here’s the thing. My eyes keep going to the two right trees and I have to make a real effort to include the left tree, even though I like the needles and the panoramic view.
Hi Igor,
So many options here. I like the version with three trees and I also think Glennie’s version works. What makes it challenging is that the “three trees” version creates “four spaces” around them. So it’s hard to get the odd number sweet spot.
What I like about the wider version is that it starts to have a kind of oriental panel feeling. You know, like those seasonal scenes that span across four panels of a lacquer or silk room divider (or sometimes each panel has its own subject). Just google “four panel oriental art” and filter results to images and you’ll see what I mean.
I don’t know why I am often struck by referential similarities to other genres, but I am, and in most cases, it’s a positive association for me. We don’t often think of photography as drawing on mid-century abstracts or oriental silk prints. But why not? When they do have that kind of echo or resonance, I think it adds to our appreciation of what the photographer is trying to do. It provides a cultural context for it. Even if it’s not a single cherry tree branch arcing across four panels or a scene of 4 geishas in different colored kimonos, using Central Oregon icons like the Fuji-esque Bachelor with ponderosa pines as dividers makes the whole thing an interesting viewer experience.
I feel like I am there, and I also feel the intentionality–in a good way. It makes me think, "Why was this photographed this way? Why not step in front of the trees? And those questions take me to the idea of panel arts and triptychs, regardless of whether they had any role in your inspiration.
Nicely done. It’s a tough call, but for now, put me down for the 3 tree, four panel variation. Maybe burn that left tree just a tish, make it more “dappled” if that makes sense.
ML
I’d like to answer that. The intent was to draw attention to the bark. However , as you can see some of the trees are in the shade. So I decided to correct that and went back again but a bit earlier and made a picture with all three trees in sunlight. But when I got the results I ended up liking them partly shaded. What’s the conclusion? I don’t know. I think it’s the balance and harmony in the primary shapes that interests me rather than what it is (mountain and trunks).
BTW, I’m always looking at art for inspiration on how to photograph. So we are in agreement there.
