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Etiqueta: nature photography

THE REEF

The ancient sea bed dyed white. The magic of the scene invokes the very distant past, as if it were an underwater reef with rocks, corals and anemones. In this climate it is essential to go while the snow is still falling or very soon afterwards to be able to capture the scene with the short­lived snow still on the tree branches and the rocks and no footprints of its numerous visitors.

Processed in Camera raw, slight adjustments of lights and shadows. Edited in Photoshop, building a panoramic file using «photomerg» with perspective correction. An inappropriate antenna and its cables have had to be cloned using the «clone stamp» tool on the Jeft margin.

TORCAL DE ANTEQUJERA

Panorama of 3 photos, Ful/ trame, 29 mm, F: 14, 1/60, 200 ISO, umbrell

LIGHTNING VISIT TO THE DEHESA

An image with a long exposure so as to capture several rays in the same frame. If the storm is far away, the rays will overlap and if the intensity of the electrical apparatus is low, its (attractive) texture may disappear completely due to the long exposure. It would be ideal then to be close (not too close) to the storm and the lightning being intense and frequent, filling the sky and illuminating the setting, enabling to maintain the texture in the clouds by using a short exposure time.

Processed in Camera Raw, making basic adjustments. Edited in Photoshop, trying to separate the Jarge ray from its background by a local se/ection, increasing the contrasts. The photo has been cropped Jater to improve the composition.

ALTIPLANO DE GRANADA

Full/ frame, 24 mm f:8, 124 s, 200 ISO, umbrella

24

THEMENACE

An expressive, dramatic scene, accentuated by the composition, leaving only a mínimum margin of earth as reference so it seems more insignificant and vulnerable to the threat of the storm that almost fulminated the photographer. An attempt was made to avoid overlapping the elements as far as possible, trying out different viewpoints.

Processed in Ughtroom, applying a gradient filter to balance the strong contrasts. Edited in Photoshop, bringing the images together in a panoramic file using «photomerge’􀀳 with a perspective correction through the «warp» too/ and a final color adjustment with «color balance’􀀺

HOYA DE GUADIX

Panorama ot 3 photos, Full/ trame, 32 mm, F:11, 1/2 s, 100 ISO, polarizer

17

THE PASSION THAT FLOWS

A solitary tree contrasts with the burning sky; clouds of passion floating above the firmament. I have left only a mínimum of earth to accentuate the drama and tension of the composition, where the different phases of colouring of the clouds at sunset can be clearly distinguished; from an orangey yellow to the soft pastel tones. The long exposure has accentuated the movement of the clouds, thus adding to the dynamism of the scene.

Processed in Camera Raw, first adjustments. Edited in Photoshop, cropping (s/íghtly) and tryíng to recover the «original» color; Nikon sensors create strange effects at these hours of light with the still­needed polarízer on the Jens.

LOS MONTES ORIENTALES

Full/ frame, 32mm, F:10, 25 s, 400 ISO, polarizer

CROWN OF THE PASTURELAND

The «dehesa» in bloom, crowned by a beautiful cloud and the traces of the last rays of the sun. The proportions of the shot with relatively little sky create the sensation of amplitude in the field. The «star» effect of the sun is achieved by closing the aperture to a f: 11 or more, and covering a small part of the sun, in this case with the trunk of the tree, to avoid fiare.

Processed in Camera Raw, first corrections, balancing contrasts between earth and sky by applying a gradíent filter. Edíted ín Photoshop, refining the colors, among others using a very laborious se/ectíon of f/owers, to remove theír dominant greenísh tones sínce the sensor confused them with the color of the herbs. I had to select and «redraw» the sun’s rays ín the sky to be ab/e to keep them visible in the final color print profile.

HOYA DE GUADIX

Camera APS-C, 12 mm, F:16, 1/4 s, 100 ISO, polarizer

TINTED MIRROR

Here the trees have managed to «unite» the two shores. Although it has its charm on a symbolic level, for the composition it is better to keep spaces in between to give enough «air» around them. At the same time as I close the aperture or apply focus stacking for these frames I also try the polarizer at different intensities to achieve a balance between reflections, colors and underwater elements.

Processed in Camera Raw, basic contrast and color changes. Edited in Photoshop, adjusting the «horizon» of the river, using the «straighten» too/ to correct the angular deformation. Adjustment of colors and contrasts, recovering detai/s in s/ightly overexposed areas.

RÍO TINTO

Full/ frame, 24 mm, F:16, 200 ISO, 1/8 s, polarizer

UPSIDE DOWN CLOUDS

I chose this reflection in the water and a form with submerged metallic sediments for the composition, to create a surrealistic effect, which I emphasized by turning the photo upside down. When it is windy, the ISO has to be increased so as to capture the reflections with higher speed and therefore greater sharpness, unless the intention is to capture movement in the reflections, which can generate very suggestive settings. As a general rule, tree reflections tend to be more striking when the sun illuminates them.

Processed in Camera Raw, first contrast and color adjustments. Edited in Photoshop, flipping the image, c/oning a hunting ground sign to remove it with the «clone stamp» too/ and last setting of contrasts and co/ors in order to emphasize the characteristic co/ors.

RÍO TINTO

Full/ frame, 26 mm F:14, 1/5 s, 400 ISO, polarizer

THE FOOTPRINTS OF FLOW II

Here I attempted to balance the distribution of rocks and water to create a dynamic whole, since the attention usually falls automatically on the most unusual color. I placed the camera at the highest point available to separate the rocks better from each other. The lines trace the downward flow of the river and integrating them adds great dynamism to the scene.

Processed in Camera Raw, with slight brightness and contrast improvements. Edited in Photoshop, Jooking for a defined tone in each color and reviving the dampened green tones of the vegetation in the ref/ections. Moderate cropping and horizon adjustment have been applied even though it was correct, but as it was, it gave the feeling of being inc/ined.

RÍO TINTO

Fulf/ frame, 66mm, f: 16, 1/6 s, 100 ISO, polarizer

THE FOOTPRINTS OF FLOW

This river contains many heavy metals. The water has left its traces in the form of deposits of sulphuric materials, called «fractals», forming suggestive and dynamic lines in an unusual landscape. By using the polarizer to the maximum, the colors are enhanced and by lowering the intensity, the chromatism fades but the texture is emphasized. These frames with a very clase foreground and distant background require great depth of field. One could even consider using «focus stacking».

Processed in Camera Raw, first brightness and contrast changes. Edited in Photoshop, trying to recover red and yellow co/ours that my sensor had dampened, using the «color balance» and the «hue/ saturation» too/.

RÍO TINTO

Full/ frame, 36mm, F: 16, 100 ISO, 1/13 s, polarize

05

NATURAL CAVE ART

A geoform, a product of water and wind erosion wearing away the grains of sand from sandstone walls. The shape and its accompanying lines have enough interest, personality and dynamism to be the focal point of the image and only need a slight framing by the discreet shadows and textures. Applying the rule of thirds by not centering the figure, thus generating a double diagonal, helps to increase its dynamism.

Processed in Camera Raw, with slight brightness and contrast improvements. Edited in Photoshop, color correction with «color balance» to highlight its chromatism and «separate» the yel/owish tones from the reddish, since my sensor had practically confused them.

COSTA CANTÁBRICA

Full/ frame, 70mm, F:16, 1 s, 200 ISO, polarizer

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