Kim­meridge Bay

Digital Photo (UK) - - YOUR PICTURES - by Tony Wiles

What was used Cam­era Nikon D800E & 24-70mm f/2.8 lens Ex­po­sure 60secs @ f/14, ISO 100 Soft­ware Pho­to­shop

This im­age was taken at Kim­meridge Bay, which is one of the best stretches of coast­line in Dorset. I used an ND fil­ter to get a long ex­po­sure of 60secs.

Matt says Tony has got­ten so much right here, but there’s a cen­tral flaw in the pro­cess­ing. The lo­ca­tion is su­perb and, de­spite the skewiff lead-in that takes the eye out to sea rather than to Clavell Tower, and the hori­zon slip­ping off the level, the com­po­si­tion is grand, with the slick rocks re­flect­ing the evening colour and an­chor­ing the scene. Tony’s tim­ing is ex­cel­lent, too and there’s no land­scape snap­per who wouldn’t lap up that sun­set glow. Tony has used a long ex­po­sure of 60secs and that’s smoothed out the wa­ter in the bay as well as adding move­ment to clouds. Al­to­gether it makes for a pleas­ingly rest­ful scene. That is, un­til you look closely.

Zoom in on the de­tails (see panel, right) and you’ll see that there’s lots of break up in the tones, some of which look to have in­verted while whole ar­eas, par­tic­u­larly the reds on the head­land, have blocked out, los­ing de­tail en­tirely. It’s tough to know how Tony’s pic came to look this way, but my best bet is that he’s work­ing on an un­cal­i­brated mon­i­tor so the colours prob­a­bly look fine on his screen, but start to look un­nat­u­ral on oth­ers. It’s pos­si­ble he’s sim­ply pushed things too far in pro­cess­ing on pur­pose, but with the rest of the land­scape el­e­ments so at­trac­tive that seems un­likely.

For­tu­nately, all Tony needs to do is prop­erly cal­i­brate his screen us­ing ei­ther soft­ware or some cal­i­bra­tion hard­ware, and then go back to the orig­i­nal RAW file for an­other go. Not hav­ing ac­cess to the orig­i­nal, I went for mono­chrome as re­mov­ing the colour hides a mul­ti­tude of sins, and the sub­ject here suits a black and white treat­ment re­ally well.

I then used the Dodge tool to give a milky tone to the wa­ter and added some film grain to fur­ther mask the bro­ken-up ar­eas. But what I re­ally want to see is Tony’s prop­erly edited shot, be­cause I think it will be a stun­ner.


Af­ter The best course of ac­tion for Tony would be to cal­i­brate his screen and re-edit the orig­i­nal RAW file, but a mono con­ver­sion can hide some of the prob­lems, too.

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