Tribute to Adams

[Donald]

This has taken 2 years to complete. Up until now I didn't have the digital darkroom skills to complete this image. But since being on a B & W Masterclass in May I have learnt and practiced the skills that I need.

As for the image, this was taken in Yosemite in 2016. It is worth noting that I have always loved a lesser known work of Adams, 'Merced River, Cliffs, Autumn'. It always appealed to me, even before I had any thoughts about travelling to Yosemite. You can see the image at page 140 of 'Examples: The Making of 40 Images'

On the first morning in Yosemite, I was in the company of a professional from the Ansel Adams gallery. We were standing on a bridge. She pulled out a battered copy of 'Examples' and turned to page 140 and held it up before me. She didn't say anything. I looked at it and look at the scene in front of me.

There it was. 'Merced River, Cliffs, Autumn' before me. I was standing the spot where Adams captured that image. It was a massive emotional moment. It still is as I write this.

By the end of my month in Yosemite I was pretty cool about being in a place where Adams had made an image. But on that first day, for that image. The circumstances that resulted in me being there. The whole thing was emotionally overwhelming.

I knew I would return and make my image on that spot. I could never make 'Merced River, Cliffs, Autumn' and nor would I want to. We can stand on the shoulders of giants only for the purpose of seeing further and to make our own images.

Adams writes about making the print, "I have not yet made a print that fully satisfies me. ... . I ... find it very difficult to make an expressive print. Merely preserving the values results in a rather flat image, lacking in the mood and tonalities I visualized."

And so it was for me, with very much the same issues facing me. But I could see the print I wanted to make and could see how to realise that after picking up the skills to work on many and small parts of the image.

The blown out cliff face is a huge mistake. But I think it's a small enough area that I can get away with it. The dappled sunlight on the river was also a problem, until I knew how to calm it down.

So, my tribute to Ansel Adams. I hope he would approve.

[lesno1]

Just superb Donald takes your breath away looking at it

[JBW]

This has taken 2 years to complete. Up until now I didn't have the digital darkroom skills to complete this image. But since being on a B & W Masterclass in May I have learnt and practiced the skills that I need.

As for the image, this was taken in Yosemite in 2016. It is worth noting that I have always loved a lesser known work of Adams, 'Merced River, Cliffs, Autumn'. It always appealed to me, even before I had any thoughts about travelling to Yosemite. You can see the image at page 140 of 'Examples: The Making of 40 Images'

On the first morning in Yosemite, I was in the company of a professional from the Ansel Adams gallery. We were standing on a bridge. She pulled out a battered copy of 'Examples' and turned to page 140 and held it up before me. She didn't say anything. I looked at it and look at the scene in front of me.

There it was. 'Merced River, Cliffs, Autumn' before me. I was standing the spot where Adams captured that image. It was a massive emotional moment. It still is as I write this.

By the end of my month in Yosemite I was pretty cool about being in a place where Adams had made an image. But on that first day, for that image. The circumstances that resulted in me being there. The whole thing was emotionally overwhelming.

I knew I would return and make my image on that spot. I could never make 'Merced River, Cliffs, Autumn' and nor would I want to. We can stand on the shoulders of giants only for the purpose of seeing further and to make our own images.

Adams writes about making the print, "I have not yet made a print that fully satisfies me. ... . I ... find it very difficult to make an expressive print. Merely preserving the values results in a rather flat image, lacking in the mood and tonalities I visualized."

And so it was for me, with very much the same issues facing me. But I could see the print I wanted to make and could see how to realise that after picking up the skills to work on many and small parts of the image.

The blown out cliff face is a huge mistake. But I think it's a small enough area that I can get away with it. The dappled sunlight on the river was also a problem, until I knew how to calm it down.

So, my tribute to Ansel Adams. I hope he would approve.

Unless I'm mistaken A.A. would work and rework a shot many times. One day you may find a way to tone down those cliffs. I've never seen the A.A. shot but to have inspired your excellent shot it must be superb.

[Donald]

Unless I'm mistaken A.A. would work and rework a shot many times. One day you may find a way to tone down those cliffs. I've never seen the A.A. shot but to have inspired your excellent shot it must be superb.

He would devote large amounts of time to printing the negative, making lots and lots of test prints before making a final image. And then he made various different images from the same negative over many years. Remember a print was always a one-off in those days. It was never saved on a computer to be run off again.

The whites are blown I'm afraid. Once blown there is no way back.

[zen]

Aye, Donald. Made me get my copy of Examples out and begin enjoying it all over again!

Thanks for sharing. Doesn't seem like it was that long ago that you were there!

Zen

[Anybothe1982]

am i the only one feeling *strange* when looking at it? indeed takes your breathe away! amazing piece of art!

[Donald]

am i the only one feeling *strange* when looking at it? indeed takes your breathe away! amazing piece of art!

Thank you.

[LePetomane]

Nicely done. I think Mr. Adams would approve.

[rpcrowe]

Very lovely mage. When I think of Yosemite I think of Donald, not Ansel

My bucket list includes another trip to Yosemite and this time to shoot totally in IR for B&W imagery. I did this image of Half Dome using my old full-time IR Canon D60 (not a 60D)



Although the ancient 6.3 MP sensor of the ancient D60 produced a fairly decent image, I strongly suspect that a converted 5D2 might do a better job. I just happen to have a 5D2 body in my "getting ready to sell on eBay box" which I could convince myself to convert to F/T IR

[Donald]

Very lovely mage. When I think of Yosemite I think of Donald, not Ansel

My bucket list includes another trip to Yosemite and this time to shoot totally in IR for B&W imagery. I did this image of Half Dome using my old full-time IR Canon D60 (not a 60D)

Richard, thank you for the compliment.

I am about to get into IR. On the recent masterclass I was on, the tutor spoke about his passion for IR and showed us some examples. Like your image, he does not go for the 'white leaves, dark sky' style of image. Instead he pulls out the most amazing tones. I was bowled over by it. My search of his stuff and that of others shows me that I would have a wonderful time with IR. So, I am about to have a conversion made and see how I get on with that.

ps: I think your image is of El Capitan, not Half Dome.

[NorthernFocus]

Donald, I'm just glad that you are still enjoying your trip almost two years after the fact. I'm not sure that anything other than photography can really do that for us. Oh, nice image

[JBW]

Very lovely mage. When I think of Yosemite I think of Donald, not Ansel

My bucket list includes another trip to Yosemite and this time to shoot totally in IR for B&W imagery. I did this image of Half Dome using my old full-time IR Canon D60 (not a 60D)



Although the ancient 6.3 MP sensor of the ancient D60 produced a fairly decent image, I strongly suspect that a converted 5D2 might do a better job. I just happen to have a 5D2 body in my "getting ready to sell on eBay box" which I could convince myself to convert to F/T IR

Impressive

[gregj1763]

Wonderful image Donald.
I was there in 1978 on a trip with my parents.
Wish I was into photography then, an opportunity lost

[rpcrowe]

Life Pixel has some great information regarding full/time IR conversions. This video shows the various filters available from that company...

https://www.lifepixel.com/infrared-filters-choices

I have also thought that using an IR filter on the front of a lens just might give the combination of IR coloring plus extremely slow shutter speeds (such as those attained by using a dark ND filter) for some creative work. The problem with long exposure photography is that the foliage blows n the wind and creates an unsharp image. The ocean being blurred is creative while the foliage being blurred is just unsharp

Yes, you are totally correct, the image I posted is of El Capitan. I had it listed incorrectly on my smugmug Yosmite portfolio.

[xpatUSA]

I am about to get into IR. On the recent masterclass I was on, the tutor spoke about his passion for IR and showed us some examples. Like your image, he does not go for the 'white leaves, dark sky' style of image. Instead he pulls out the most amazing tones. I was bowled over by it. My search of his stuff and that of others shows me that I would have a wonderful time with IR. So, I am about to have a conversion made and see how I get on with that.

Donald and Richard,

If you convert to the so-called "full spectrum" rather than having an IR filter mounted on the sensor you can have a selection of lens-mounted filters for various effects - different bandwidths and so forth. And full spectrum shots can be quite impressive in their own right (summer shot):



I am lucky in that Sigma DSLRs have the UV/IR blocker mounted separately under the lens mount - easily removable and replaceable.