I love going back through images to find hidden gems. I’ve spoken about this before, but feel it worth another reminder. Give yourself time from the shoot so you will be able to evaluate the images for what they are, and not what you had hoped they would be. Now, don’t get me wrong. It would be best to craft your image in the viewfinder and feel confident you have THE shot. That said, I still feel we are drawn to certain images when we do our review and these pop out because of our emotional and visceral reaction to them. What then happens is, we tend to move on leaving behind other images that are also great! With today’s image, I have already processed three others from this particular morning shoot. As I went back to review images, now almost two months old, I had new knowledge. I have learned more about processing this type of image and was able to review the RAW files with a new perspective. This new knowledge helped me to see the potential in other similar images. And then I decided to play with a crop and came up with the image below. Another right answer!
Both scenes are beautiful, well done you captured a wonderful mood.
Thanks Ferrell. Your recent work is killing me.
This is so true, John. I have found that going back over images made weeks or longer before allows you to view and evaluate them from a more distant perspective. I am reminded of the quote you introduced me to: “I never have taken a picture I’ve intended. They’re always better or worse.” – Diane Arbus
A good quote Rich.
Wonderfully moody images John – I agree with you to step back and look again later.
Food for the spirit…..
Wonderful work as always John!
neat shots John. your the man!!!
A really fine b/w, John. The layers of landscape are a real gift.
Your black and white landscapes are simply stunning. Beautiful.
Thank you Alice. Always appreciate your kind feedback.
Related to this is a recent post on LensWork Daily (daily.lenswork.com) describing how in the first 7 years after Ansel Adams made the image of “Moonrise, Hernandez, New Mexico, 1941” there were less than 10 prints made of it. It was later when Ansel learned to print it (and the selenium toning / intensification of the negative) did the image become the familiar image we know today with the dramatic tonalities. Eventually over 900 prints were made, but less than 1% for nearly a decade after the image was made. A lot more commentary regarding the original authors thoughts on the aforementioned web site.
Wally, thank you for your comment. Appreciate your visiting my blog.