The Making of a Photograph Part 1 – Selection

I spent a night in Yosemite Valley a few weeks ago.  See 24 Hours in Yosemite.  It was great to be back; no, it was fantastic to be back.  Both sunset and the following sunrise were shot from Tunnel View, the parking area just as you emerge from the tunnel on state highway 41.  You can always count on company, especially for sunset.

I’m working on one of the photographs taken there that weekend.  But before showing you the image, let’s start with some comments about the light.  Sunset was a near cloudless sky.  The only clouds were a few cotton balls floating over Half Dome.  The rest of the sky was clear.  As the sun set the shadows filled the valley, eventually claiming to the tops of the cliff faces.  But as they did beautiful warm light embraced the the mighty granite but gradually gave way to approaching night.

The morning was quite the opposite.  During the night the anticipated storm rolled in and rain started to fall.  The valley was now full of clouds swirling about, shrouding the eternal granite.  And snow flurries came, keeping all of us at Tunnel View on our toes, protecting our camera gear and warming our fingers.

It was an image from the morning shoot that I selected to work on.  There were long periods of waiting.  The snow flurries passed over us and moved on up the valley obscuring most or all of it.  Then they would pass but the clouds wouldn’t be in the right positions.  Eventually a wonderful, exciting light came shortly after sunrise, imparting a very faint warm cast to some of the clouds.  The rest of the scene was cool, both in light quality and air temperature.

Yosemite_1This is the image I started from as it appears unaltered in Lightroom.  I selected it because of the sense of mystery created by the clouds that just give us glimpses of Bridle Vail Falls and the Cathedral Spires on the right and towering El Capitan on the left.  The hints of the beautiful warm hues in the clouds that I would try to pull from the image are present but not apparent in this image.  Rather, we see the predominantly cool mood.

Over the next several posts I’ll take you through the process of trying to recreate what I saw and felt that morning as well as what I discovered in this image.  There were some wonderful surprises in store.  So stay tuned.

The journey continues – read part 2.

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Photoshop Discoveries 2

Use of Spot Healing Brush

I have an image that is a shot of the Eastern Sierra at sunrise.  There are gorgeous clouds hanging over the peaks.  The early morning sun lit them on fire along with the mountains.  It was amazing!

My exposure was pretty close to being right on.  And yet, there was one part of the clouds that technically wasn’t clipped but was very close.  The RGB numbers were not 100% but were in the high 80% to low 90%.  The thing was there wasn’t much detail and it really stood out.

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Zion Canyon Journal – Session 1

What I’d like to do is keep a journal of the steps I go through and the decisions I make when creating the Zion Canyon print.  It was shot on 11/24/2007 near the Great White Thrown turnout.  I was there the day before closer to sunset and realized this shot needed to be taken about an hour earlier.  So I came back at 4:15 the following day.  The shot required both stitching (vertical panorama shots) and HDR (three exposures bracketed at +/- 1 stop) for a total of six shots.

The image was shot down by the Virgin River although it’s not in the picture.  The foreground is a meadow in the shade with two cottonwood trees.  The middle ground is a Navajo sandstone cliff jutting in from the right, also in the shade.  The background is a tall cliff, also Navajo sandstone, that is still catching some sunlight.  The sky is cloudless and blue.

Here then are the steps I’m going through to take these six shots from RAW to a finished print.  It will probably not be completed today.  Sorry I can’t show the before and after of each step.  That would be interesting.

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