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Palouse, by Palouse (updated)

Discussion in 'Black and White' started by Palouse, Jul 9, 2018.

  1. I've been working on better understanding B&W conversions. These are shots I made back in mid September, 2008 on the full moon. All with the D2X and a 80-200 AFS-ED. There was a heavy smoke in the air from forest fires and dust from harvest, all of which made for a most intense colorful sunset series--shooting towards the setting sun, especially when a small "convoy" of loaded grain trucks drove by and filled the air with dense dust.

    These are shot in the other direction, to where the full moon would soon rise. The landscape was lit by diffused/reflected light from the setting sun. Soft, but colorful.

    Converted with DXO-PL, using the basic conversion and then using the HSL sliders to affect tones to my liking.

    1 Steptoe Butte through the dust. You can see the Cell-towers and microwave antenna on top.
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    2 First of the moon.
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    6 . Quiet comes to the Palouse.

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    7. One with a wider lens (Tokina 12-24)
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    8. Good-night John boy!
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    Last edited: Jul 9, 2018
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  2. These really bring out patterns, lines and shapes, Nick!
    A great series!
  3. Thanks Bart. I spent some time this weekend looking over many of your posts of B&W landscapes for direction.
  4. I'm honoured.
    Thanks, Nick :) 
  5. Very nice layers, so nice that I sure do wish you had posted larger images.
  6. Thanks Mike. Sorry about the size. I must have screwed up my export specs. In working on this, I came up with the idea of shooting or examining a scene in B&W live view mode for structure, lines, etc., before shooting in color. B&W is so good at forcing you to confront structure.
  7. Please, Nick. We photographers prefer to use the term, embrace, rather than confront. :ROFLMAO: 
  8. West


    Jan 2, 2012
    Vancouver BC
    3 & 5 is as good as they get
  9. Embrace, yes, embrace! Now that I see it, I can embrace it :D 
    Large images, with 2 bonus ones thrown in for penance!

    Thank West and Mike.
  10. A part of the country that is rarely seen in b&w Nick. These are great. Really like 1 to 5 a lot.
  11. Thanks for the larger sizes and the added images. #7 is my favorite because of the lusciously textured foreground detail. Though it would probably pain you to remove the moon, I would probably do that if the image was mine...which, of course, it's not.
  12. Thanks Mike. I get your point about the moon in #7--bang dead center, horizontally. I could make up a story for why I did it that way, but it was almost 10 years, and many brain cells, ago. Fact and fact will merge and confuse me. Good advice though.

    Rick, yeah, B&W Palouse is rare. I've seen a few, very few. Glad you like 'em. Thanks.
  13. For a completely different look in #7 that has the potential to be informational as well about post-processing monochromes: Remove the moon. If you have a raw file of the image, increase the exposure until the histogram extends at least reasonably close to the far right. If you only have a JPEG, use the Curve tool to make that happen. Even if you do have the raw file, tweak it with the Curve tool after increasing the exposure.
  14. OrvSal


    Nov 8, 2006
    Carlsbad, Ca.
    Having been to the butte several times in the past, it is a very fascinating place to experience. Your B&W are unique as not very many people choose that. I like the haunting look of that time of day. My faves are # 4 & 5. The farms seem to just add that extra touch.
  15. Yup, the tones by landscape angles are nice.................
  16. How did I do?
    A. No moon
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    B. Exposure adjusted.
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  17. Thank you so much Orv. Lots to learn..

    Thanks Darrell. Fun stuff this!
  18. You did great! My point is to keep an eye on the histogram every bit as much as you do when working with color images.

    My workflow is to convert from color to monochrome using a color filter that gives me the overall look I want. I then perhaps revisit the exposure and always tweak the tone curve. As an example, you could keep the predominant dark tones in your version A with No Moon but using a range of black to white tones that will create an entirely different look that is somewhere in between your versions A and B.
  19. Good advice Mike. Thanks for the hand holding. I was going for the somber, dark look. I could see cropping B just above the background hills. It is amazing how these tonal differences shift the initial focus in the scene. Certainly in the original (#7) it was the moon. In A I'm drawn first to the light straw in the foreground. In B I'm drawn first to the standing wheat stubble about half way in, and then to (slightly soft) farm house and silo in the far right. Fascinating.
    Again, thanks.
  20. Exactly, Nick! It's the choice of the color filter you use to convert to monochrome that will set the overall look you want. Everything else you do after that is fine tuning.
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