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Utah Miscellany
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Uploaded August 24, 2001...

factory butte at sunset lores.jpg (64958 bytes)

Factory Butte, San Rafael Swell, Utah, 2001. Kiev 60, Hartblei 45mm lens, polarized.

storm over escalante lores.jpg (95443 bytes)

Storm over Escalante, Grand Staircase Escalante NM, Utah, 2001. Kiev 60, 30mm Arsat fisheye. This is a composite of two images laboriously stitched together by hand before I discovered the excellent software that will do it automatically. Look for an updated version of this image.

storm over kaiporowitz fisheye lores.jpg (53034 bytes) storm over kaiporowitz fisheye corrected lr.jpg (49260 bytes)

Storm over Escalante II, Grand Staircase Escalante NM, Utah, 2001. Kiev 60, 30mm Arsat fisheye. These two images start with the same negative. The image at left is the uncorrected shot as made in the camera. The image at right has been reshaped by sliding the sides downward merely to straighten the line of the distant cliffs (these are, in fact, the Straight Cliffs, and they need to be straight!). The fisheye distortion is still there, and is adjusted out at the horizon and exaggerated at the top fo the image. The colums of pixels are merely adjusted vertically, which greatly minimizes resampling errors and artifacts. Another approach would be to radially distort the image to render it rectilinear, as a rectilinear wide angle lens would. That approach, however, stretches the pixels in the corner dramatically, and requires an initial image of about six times the resolution of the final image. For web display, that would work, but not for a print of usable size. The approach I used above, however, only diminishes the effective resolution slightly, and can be printed as large as the uncorrected image. Whether such labors are worth the time with this image is a matter for you to decide.

aspens bw lores.jpg (93143 bytes)

Aspens, Boulder Mountain, Utah, 2001. Kiev 60, 45mm Hartblei. This image was originally in color, but the colors were flat and uninteresting under the canopy of trees and clouds. Converted to monochrome with a strong bias towards the green channel, however, allowed the saturated greens to become highlights. This is similar to making this image on standard black-and-white film using a deep green filter, or perhaps even using infrared film.

 

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Last modified: March 09, 2007