Mushroom pano

Canon EOS-1Ds Mark III__EF50mm f/2.5 Compact Macro__10.0 sec at f / 27__ISO 100

This last weekend, I was mowing my grass (electric mower, not gas!).  I noticed a mushroom and picked it.  Then I plucked out the stem so I could photograph the radiating pattern.  I tried various framing options including full mushroom and black background, partial mushroom in the frame, and filling the frame with the pattern with no black background.  As I photographed, it occurred to me that the composition would work well in B&W.  It also occurred to me that I might print this very large someday, and that I wanted a square format.  So made two frames, one with top half filling my frame, and one with the bottom half, then used photomerge in PS4 to create a higher res, square framed image.  The lighting is from my office window.  The file size with adjustment layers is 334 MB.  Here it is!  Let me know your thoughts.

Cheers,   Bill

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Published by William Neill

William Neill, a resident of the Yosemite National Park area since 1977, is a landscape photographer concerned with conveying the deep, spiritual beauty he sees and feels in Nature. Neill's award-winning photography has been widely published in books, magazines, calendars, posters, and his limited-edition prints have been collected and exhibited in museums and galleries nationally, including the Museum of Fine Art Boston, Santa Barbara Museum of Art, The Vernon Collection, and The Polaroid Collection. Neill received a BA degree in Environmental Conservation at the University of Colorado. In 1995, Neill received the Sierra Club's Ansel Adams Award for conservation photography. Neill's assignment and published credits include National Geographic, Smithsonian, Natural History, National Wildlife, Conde Nast Traveler, Gentlemen's Quarterly, Travel and Leisure, Wilderness, Sunset, Sierra and Outside magazines. Also, he writes a monthly column, On Landscape, for Outdoor Photographer magazine. Feature articles about his work have appeared in Life, Camera and Darkroom, Outdoor Photographer and Communication Arts, from whom he has also received five Awards of Excellence. His corporate clients have included Sony Japan, Bayer Corporation, Canon USA, Nike, Nikon, The Nature Company, Hewlett Packard, 3M, Freidrick Grohe, Neutrogena, Sony Music/Classical, University of Cincinnati, UBS Global Asset Management. His work was chosen to illustrate two special edition books published by The Nature Company, Rachel Carson's The Sense of Wonder and John Fowles's The Tree. His photographs were also published in a three book series on the art and science of natural process in collaboration with the Exploratorium Museum of San Francisco: By Nature's Design (Exploratorium / Chronicle Books, 1993), The Color of Nature (Exploratorium / Chronicle Books, 1996) and Traces of Time (Chronicle Books / Exploratorium, Fall 2000). A portfolio of his Yosemite photographs has been published entitled Yosemite: The Promise of Wildness (Yosemite Association, 1994) which received The Director's Award from the National Park Service. A retrospective monograph of his landscape photography entitled Landscapes Of The Spirit (Bulfinch Press/Little, Brown, 1997) relates his beliefs in the healing power of nature. William has taught photography since 1980 for such prestigious organizations as The Ansel Adams Gallery, the Friends of Photography, Palm Beach Photographic Workshops, The Maine Workshops and Anderson Ranch Workshops. He specializes in landscape and nature photography and is concerned with conveying the beauty seen in Nature. Currently, he teaches online courses for BetterPhoto.com and One-on-One Workshops in his home studio near Yosemite National Park.

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  7. I have been drawn to your singularly subtle color land/ocean-scapes, William, and inspired to eschew the current trend in oversaturating Everything in digital editing.
    With This image, I parTicularly like the suggested rotation near the stem hole, as well as way you positioned it with respect to the lighting direction. I also fully appreciate the tonality and mandala quality of the shape. Very satisfying, and, as one other poster says, also disquieting in its lack of finality. That rotation may be part of that quality, too?

  8. From a photographer’s point of view I see a series; mushroooms, donuts, Polo mints (http://en.wikipedia.org/wiki/Polo_(sweet)) etc. From a viewer’s perspective I see a contemplative image where I don’t know whether to look from the hole to the edge or from the edge to the hole. Is it drawing me in to a black hole or am I escaping to the outside? And it’s a nice pattern. Regardless of the number of MB or degree of absolute tonal subtlety I think it was a good thing to find inspiration whilst cutting the grass!

  9. If you wanted a square, and your intent was to make a large print, why not use a 500-series Hasselblad, and either shoot B&W film and have it drum scanned, or attach a CFV digital back and nail it in one shot? Either way, you’d end up with a file with more detail and more subtle tonality than could be achieved using the smaller format.

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