Luminous Landscape Forum
Equipment & Techniques => Landscape & Nature Photography => Topic started by: Hans Kruse on January 03, 2017, 12:04:21 pm
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Here are a selection of my best shots from 2016.
http://www.hanskrusephotography.com/Landscapes/Best-of-2016/
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That's a stunning collection.
May 2017 be even better (if possible).
Thanks for sharing.
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Thanks for sharing, Hans. This is a fantastic gallery and it's always a pleasure to savour those gorgeous vistas.
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Wonderful collection.
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Thanks for your comments and viewing :)
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Hi Hans,
This is not fair for us mortals! ;D
Such stunning images, each one a real gem!
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Nice series Hans, I certainly remember some of the scenes we attended during your Tuscan workshop. You did them justice and the other ones are nice as well!
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This collection is a wonderful study demonstrating any variety of compositional approaches to landscapes.
Not to mention that the images themselves are absolutely breathtaking!
All the best for 2017 Hans
Tony Jay
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A collection of wonderful and inspiring images. Thanks for sharing.
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a collection that indeed does justice to the name 'Luminous Landscape...'
Beautiful images, just on the balance between real and fairy tale.
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Thanks again for the feedback. :D
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Beautiful work, Hans, as we've come to expect from you.
You epitomize how important the edges of day are for their dramatic light. Your photographs hide the amount of effort it takes to be there at those times as, no doubt, there are many instances when you have "been there" and the conditions haven't developed as expected.
Thanks for sharing!
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Very nice!
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Stunning collection!
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Hans,
I enjoyed viewing all of the images. And, the 5DSR with 11-24 is a killer combination! Wow!
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Outstanding series, Hans. Oh the subtlety of the white washed look of the red church in a snowstorm.
JR
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Excellent images!
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Excellent images!
Yes. And one of them is currently the first image on dpreview.
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Thanks everyone :)
Thanks to Kers and his comment about the balance between real and fairy tale. This is always an interesting scale to work on and probably will never pull me entirely to one or the other end of the spectrum. I think it is the scene that speaks to me and makes me go for what I feel. Not that I post process for "what I saw" as many photographers will say. For me it is a combination of the composition on the location and the post processing that will make it real or fairy tale.
Many thanks to Pieter for the time we had in Tuscany in May. Btw. I can never work out if I like May or November the most, it is like different locations.
Thanks to Tony and the comment on compositions. I always try to composition many different compositions when on a location and then choose later behind the computer what I feel works the best. I'm never able to tell in the field which one will come as the one I like the most. Probably a shot coming I'll have to live with :)
Thanks Terry, you are right about the many times when it was either not very good or just average. But what thrills me and my workshop students when I'm with them, is the highs when everything is amazing. In Italy I only shoot at the extremes of the day and I always find it fascination that an ordinary scene in Tuscany can look that amazing at or before sunrise. In Scotland and in Norway I also shoot during the day time sometimes as the light is often suitable for it, where in Italy the light almost always gets harsh and much too strong.
Thanks Doug and for the time when you joined me in Tuscany. The Canon 11-24 is an amazing lens. The optical quality is not the most amazing thing in my view (strange to say perhaps the optical quality is outstanding as is the price of the lens). I hesitated for a while to buy the lens until I tried it on one of my workshops where a participant had it and I saw the potential. It is alens that grows on you if you like that extreme view. You have to go very close to the foreground to make the pictures. For those interested Ian Plant has made a great set of tutorials on the Ultra Wide Photography where he shows also the 11-24 and what can be achieved with this lens. I still have a way to go to exploit this lens.
And thanks to the rest which I did not comment on :)
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Beautiful work!
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I love Dream House.
All images are great. Real good. Makes me want to be there :-)
One thing I start to wonder nowadays when I look at photography.
Do we use too much saturation?
I love the bright vivid colors but isn't it too much?
I wouldn't be strong enough to bring that saturation down. Haha
I still want to go to all this places.
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I love Dream House.
All images are great. Real good. Makes me want to be there :-)
One thing I start to wonder nowadays when I look at photography.
Do we use too much saturation?
I love the bright vivid colors but isn't it too much?
I wouldn't be strong enough to bring that saturation down. Haha
I still want to go to all this places.
Thanks Rafal.
In my case I only sometimes touch the vibrance and even more seldom the saturation sliders. The colour and saturation only comes from the white balance setting and as a consequence of the contrast, white and black point settings as well as exposure and highlights and shadows. I often prefer the slightly underexposed look with white and black point settings at their limits (although often not at the limits but lower with a tone curve setting for contrast). Sometimes after the editing was done and all was to my taste, I felt the saturation was a bit too high. I then drag the vibrance slider to the negative side and more often than not I felt the image to loose it's life. When I feel colour disturbs the message or I simply can't get the colours to my taste (which happens) then I will go for b&w. The reason I answer like this is that there are so many opinions about saturation, but in my view it is not about saturation per se, but about how we edit our images. We may see it as saturation, but what really is at play (in my opinion) is the way the tonal scale is manipulated in terms of contrast and light distribution across the tonal scale.
When I look at your site I see the same thing happening, that you edit your pictures to send a certain message via the look, composition and explicit inclusion and exclusion of visual elements.
So is it too much or too little? In general terms I don't this can be answered in a meaningful way, only on an author (aka. photographer) and image basis. And then only by which taste and message you go for. And two years later the same image might look different if you started over from scratch. At least that is my experience. So my recommendation is to stay weak :)