Editing recent photo sessions…

Canon EOS-1Ds Mark III__EF70-200mm f/2.8L USM__1/2 sec at f / 8.0__ISO 100

I am trying to catch up with processing all the images I’ve made in the last few months.  It has been a very productive time for me! Here is one taken on February 2o. I have already posted another image from this session, but I made a quick edit initially so I felt the need to dig back through the captures to see what else was was there.  This is an important process for all of us photographers, because we can generate so many versions of any given composition that we can’t digest them all in one or two editing sessions.

I will post two here for your review and comparison.  The  top image is newly post-processed, and the bottom photograph was posted on Facebook in February.  For both images, I used my trusty Singh Ray Vari-ND in order to use slow shutter speeds.  Your thoughts are welcome.

Enjoy,  William Neill

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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.

18 replies on “Editing recent photo sessions…”

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  7. I take a lot of movement abstracts, and I find them extremely tricky to evaluate. Often the ones I like most when I’m whizzing through small previews (probably because they’ve got more definition) make me feel rather queasy viewed full size. I think both of these work, but I prefer the lower one – the colours work really well, and I’m addicted to thunder grey and lime-green. I also suspect I’d prefer it close-up – since it’s sharper movement shots that can be tricky on my eyes. Most of the time, I find more blur preferable: enough so that I don’t try and resolve the image. But every time I think I’ve come up with a ‘rule’ for these blurs, I veer in the opposite direction. Which is why, of course, they’re such fun.

  8. Thanks for the comments. Ultimately, even I couldn’t fully judge the two unless printed and viewed side by side. Onscreen viewing is just one step towards full assessment by seeing a fine art print!

  9. I initially was drawn to the top one but the more I look the more I prefer the “dreamier” quality of the bottom one. I’m going to have to go against the trend here!

  10. I prefer the top one for the following reasons:

    – greater definition in the clouds
    – more emphasis on the dramatic sky by not having as much green grass at the bottom
    – more color in the trees

  11. Thanks for the feedback!

    Of all the composition rules I dislike, the “rule of thirds” is the one I like the least. Never have used it intentionally. However, when judging in retrospect, sometimes the best possible image design for a subject follows that balance. As a rule to follow while creating a composition, it is highly overrated and limiting.

  12. Although the top one has a little less dynamic interest in the deeper gray areas at the top, it has much more life in the trees at the bottom, and the energy there makes them more compelling and also accentuates the inverted sky/ground contrasts in an effective way.

  13. I also like the top one better… initially I thought this was simply due to the illustrative look of it vs. the bottom one that is a little less crisp and geometric. However, after a 2nd look I think it is also because of the light and color. The top one has more blue-and-white-puffy-clouds and lighter green at the bottom. The rule of thirds may also be coming into play as the top of the trees create a horizon line. The trees on the top image are also more “treelike” in that you can see the trunks and individual trees descending into the distance. The bottom images is a bit flatter. Beautiful work. Inspiring!

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