Critique Neist Point Skye

Beautiful images Steve. The first one I can almost visualise myself sat there looking at that wonderful view as the last warmth of the evening sun lights up the headland.
 
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I prefer the second one. I find my eyes being drawn to the bright foreground on the left in the first whereas 2 leads me nicely along the cliffs to the focus- and I think the tones work better in the second. The only thing I'd suggest for 2 is to see if you can bring up some of the deep shadow at the base of the cliffs to get some detail in. Makes me want to be there though.
 
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Cracking ones, Steve. Although the rock to the left in the first one grabs the eye, I prefer the warm tones.

Dave
 
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Yep. I agree next time I will not compose with that rock in the foreground. Re 2, it will be hard to pull it out further than it has been without getting a bit noisy. Next time A soft edged grad might have to go on to balance the exposure out.
 
Two works well for me, a nice calming picture. I don't think you need to do any shadow recovery but if you choose to I wouldn't worry about a bit of noise, in most cases it's only noticeable when pixel peeping and not in an average size print
 
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Two very nice images Steve, liking both of these very much with #2 being my preferred shot.(y)

George.
 
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The second for me too, I have not seen many of this location in the blue hour. Personally i think it is fine as it is, as it seems realistic. A lot of the time I feel that people (myself especially I think) use too much shadow recovery when it might not be what the eye actually would see. Is it possible to crop the rock out of the first so it is a square? I wondered how it would look.
 
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The light on the first is great but the composition works better on the second.
 
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Love the light in the first, Steve.
I don't care for the tones in the second.
 
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Feel you should have made more of the foreground in the first (and toned it down) and the second is lacking interest...best described as dynamism. Looks like it was a pleasant evening to be there though.
 
I'm still not too keen on the top one. I remember you posted it in one of my threads about a year ago! It's such a fantastic location and I feel that your image doesn't really do it justice. The composition is fine although exactly the same as many others taken there. The light is OK....ish, but the whole image has a slightly washed out feel for me.
 
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That light on the LHS of the first image bothers me, its a bit too hot, whereas the light on the rest of the landscape with that aspect, looks absolutely sublime.
The second is a lot more soothing, but I'd prefer the first if you could handle that highlight
 
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I think the first has stunning light but I don't think you've quite nailed it Steve with that massive and very noticeable chunk of overlit rock to the left. For me, it ruins what could be an absolute stunner. The rest of the image is gorgeous, the light on the cliffs is beautiful and the sky is lovely and soft. That rock bottom left though is what I see first and it grabs my attention so much that it takes my eye away from enjoying the rest of the image.

The 2nd is a better composition but too blue. Not your usual standard Steve but still better than any I have of this spot, as I've never been but I am planning to rectify that soon. :)
 
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Tried pegging the rock down a bit. It is better but I think the crop is the way to go ultimately...

Here is the shot with the pegged highlight.

_DSC4139 by Stephen Taylor, on Flickr

Here is the crop. I rather like this actually.

_DSC4139 (1) by Stephen Taylor, on Flickr

Ultimately now I feel I am where I should be with the set.
 
The cropped edit is the one for me Steve.
 
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:agree: with Alf, much better and the viewer can now appreciate the light rather than that pesky rock.
 
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ST4 said:
I cannot believe it until it was actually mentioned to me, it seems so obvious. Thanks for helping me get my image to where it really should be.
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That's why I come here. As authors, we see our images in a different way to somebody who has no emotional attachment to it and because of that, the critique has no personal attachment and the images are seen in a different way by the viewer as oppossed to the author.

I always appreciate constructive crit and in my time here, it has certainly helped me improve.
 
Dale. said:
That's why I come here. As authors, we see our images in a different way to somebody who has no emotional attachment to it and because of that, the critique has no personal attachment and the images are seen in a different way by the viewer as oppossed to the author.

I always appreciate constructive crit and in my time here, it has certainly helped me improve.
Click to expand...

x2. Its how I got to where I am today, I used to post some right crap, still do from time to time, but pointers and feedback always will help us improve.
 
Dale. said:
That's why I come here. As authors, we see our images in a different way to somebody who has no emotional attachment to it and because of that, the critique has no personal attachment and the images are seen in a different way by the viewer as oppossed to the author.

I always appreciate constructive crit and in my time here, it has certainly helped me improve.
Click to expand...

x2. Its how I got to where I am today, I used to post some right crap, still do from time to time, but pointers and feedback always will help us improve.
 
ST4 said:
x2. Its how I got to where I am today, I used to post some right crap, still do from time to time, but pointers and feedback always will help us improve.
Click to expand...

Dale. said:
That's why I come here. As authors, we see our images in a different way to somebody who has no emotional attachment to it and because of that, the critique has no personal attachment and the images are seen in a different way by the viewer as oppossed to the author.

I always appreciate constructive crit and in my time here, it has certainly helped me improve.
Click to expand...

Feedback from other photographers CAN help, but the result is not necessarily what the general public will prefer. I've been publishing postcards for many years and it took me 20+ years to realise that - for example - Joe Public does not BUY postcards with sunsets on them (unless they are REALLY special) no matter how much I like them myself!

There is also the risk that other landscape photographers will make suggestions along the lines of current trends resulting in a gradual coalescence in style.

I've been doing it for long enough to see trends come and go and I still keep doing the same old thing that I've always done, even if my style may appear dated to some.

This is not aimed at you, in any way, Steve, it's just an observation. And anyway......you seem to have the thickest skin of the lot!
 
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jerry12953 said:
Feedback from other photographers CAN help, but the result is not necessarily what the general public will prefer. I've been publishing postcards for many years and it took me 20+ years to realise that - for example - Joe Public does not BUY postcards with sunsets on them (unless they are REALLY special) no matter how much I like them myself!

There is also the risk that other landscape photographers will make suggestions along the lines of current trends resulting in a gradual coalescence in style.

I've been doing it for long enough to see trends come and go and I still keep doing the same old thing that I've always done, even if my style may appear dated to some.

This is not aimed at you, in any way, Steve, it's just an observation. And anyway......you seem to have the thickest skin of the lot!
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I've noticed, and this really isn't aimed at you, there seems to be a style now for hyper dark, hyper high black point over saturated images. Think the work of Ted Gore. I prefer a lighter, brighter touch like Ian Camerons. I know both are aclaimed photographers but honestly, Teds work doesn't do anything for me whatsoever. People seem to think mood comes from a vingette, increasing the blacks or split toning the life out of an image.

Yours are mercifully faithful honest renditions but I always like to dicuss images, whats good, whats not so good. Some feedback I don't see the merits in but the crop has helped me get Neist to where it should be. A place like Neist is a bit out of my zone, reflections in lakes and mountains is really where its at for me. I prefer more golden light to you, but I don't sell postcards, you do, and deep shadows and rich light really isn't postcard material.
 
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ST4 said:
I've noticed, and this really isn't aimed at you, there seems to be a style now for hyper dark, hyper high black point over saturated images. Think the work of Ted Gore. I prefer a lighter, brighter touch like Ian Camerons. I know both are aclaimed photographers but honestly, Teds work doesn't do anything for me whatsoever. People seem to think mood comes from a vingette, increasing the blacks or split toning the life out of an image.

Yours are mercifully faithful honest renditions but I always like to dicuss images, whats good, whats not so good. Some feedback I don't see the merits in but the crop has helped me get Neist to where it should be. A place like Neist is a bit out of my zone, reflections in lakes and mountains is really where its at for me. I prefer more golden light to you, but I don't sell postcards, you do, and deep shadows and rich light really isn't postcard material.
Click to expand...


I had to look up Ted Gore but his images ARE spectacular. As an example of a photographer following - or perhaps even leading - current trends he must come close to the leader of the pack. I do believe there's more to landscape photography than visiting the most spectacular locations, using the most extreme techniques and processing, though. It's a bit of a dilemma for me - do you do your best with what surrounds you or jump in a plane and travel to the ether side of the planet to satisfy your lust for the sensational? The temptation for the latter is always there but I'm quite good at restraining myself.
 
I like the places he goes to and lighting just not the hyper real appearance. They're all just too dark looking and that's an aesthetic I don't like.

Ian Cameron, Colin Prior just produce nicer images.

I do a fair bit of travel for images, I like new places and exploring them, I expect many labdscapers do but I prefer my own touch, or someone like @Stu Meech to Teds oppressive style
 
Like the first Steve, but like Greg says, could of made more of the foreground, it feels a bit half in half out at the mo and the brightness of the rock is pretty harsh! Sorry to say but really not keen on the tones in the second, not your usual high standard on that one.
 
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I much prefer the cropped version of the edit, superb light and shape.

I am also a huge fan of Ian Cameron, to watch him work on film is impressive when you see the final result and realise they have had very little post processing after scanning. A natural take on the landscape, all about light and form.
 
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