Art Gallery:  Sunsets, Skies, and Clouds 3

Back to Film!


This is part of my quest to capture the pure essence of the sunset.   I'm not sure it's possible to do that without including landscape features in the scene, because a sunset is more than just the sun.

Photography is partly about realism, but there's a balance there.  The pictures are about more than the exact appearance of the sunset.   They're about how you remember the sunset.  Or how you want to remember the sunset.   

If there's a slight color cast, or the clouds are a bit more magenta than they should be, then so much the better.  As long as it adds to the overall effect. 

The titles of these pictures are subject to change on a whim;  this is my art.

I hope you enjoy my work.  (For various camera-related stuff, see also here and here.)  Thanks for visiting my website!


 





The Appearance of Molten Rock

Fujichrome Velvia 100



A vivid sunset with hues of magenta, red, and orange.  

One thing I like about Velvia is how it reacts to red-spectrum light.  Beyond some point you get almost runaway saturation.  Digital cameras don't do this.  Or, when they try to do mega-saturation, it's never quite right.



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Untitled

BelOMO Vilia scale-focus camera

Kodak Elite Chrome 100 (35mm)



A sunset with purple-red sky instead of the usual blue and orange.  I have to look at the original slide, but I don't think the colors were adjusted.  

This was metered through a film SLR lens ("TTL metering").  Whatever it said, I used those settings on the Vilia.  A DSLR would have worked for the metering, too;  or you could use any digital camera that has a light meter. 

As far as we're concerned, the sky doesn't receive light the way solid objects do.  The sky is usually at least a couple stops brighter than what you'd read with an incident meter.  When you photograph sunsets, use TTL metering. 

Most everywhere else, an incident meter is the better choice.


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Pine Tree At Dusk

Yashica MAT 124G

Fujichrome Velvia 100


I think this is a red pine. 

Velvia 100 is the film if you want to bring out the saturated blues and purples in that hour after sunset.  It has more of a magenta undertone than Velvia 50, which seems to shift green more easily.

This was on a tripod;  might have been f/11 but I didn't write it down.  Here again this was simply TTL metered with a D/SLR.


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A Confluence of Narrowly-Adjusted Tuning Knobs

Fujichrome Velvia 100 (35mm)







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Still, I Want You To Know

Yashica MAT 124G

Kodak Ektar 100


This was scanned and color-adjusted using custom methods.  There was something about this scene that just wanted to have these colors.  Maybe I'd been looking at this or something.

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Sunsets, Skies and Clouds, Part I
Sunsets, Skies and Clouds, Part II

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