January 13, 2009 ·

Michael Reichmann

This page contains the winning entries from photographers who wished to have their photographs reviewed by the publisher of this site,Michael Reichmann. Each month’s winner receives a copy of theLuminous Landscape Video Journal.  

For additional details see theCritique / Contestpage. For the current month’s entries seehere.

Darwin Wiggett — October, 2002

Darwin Wiggett
Water Valley, Alberta, Canada

Mamiya 645 PRO TL, Mamiya 80mm F4.0N Macro at F11, Fujichrome Velvia (exposure time unrecorded), Singh-Ray Colour Intensifier filter

Image scanned on Imacon Photo scanner, minor curves and levels tweak to get scanned image to match slide

I was set up at Vermilion Lakes in Banff, Alberta waiting for the morning light to kiss the peaks. It started to rain, I waited for a half hour after the rain started, and was just ready to pack up my gear when these beams of light shot through a hole in the clouds. I had time to shoot three shots before the light faded. Sometimes patience pays off!

Michael’s Critique

What can I say? An amazing moment beautifully captured. It seems like something from a dream, but I’ve seen these type of rays before. Remarkable, and a remarkable image.

You can add your own comments on Darwin’s photograph on the Critique section of ourDiscussion Forum.

Jason Clark — September, 2002

Jason Clark
Mesa, AZ

Canon Elan 7E, Sigma 28-70 2.8 EX DF, Fujicolor Super HQ ISO 100, Bulb exposure estimated 45 seconds at f16.
Cropped vertically approx. 50% of the full 35mm frame.

Fast moving storms are the hallmark of the monsoon season in Arizona. This storm was no exception, I was only able to expose 10 frames before the main body of the storm reached my location and the rains forced my retreat.

Michael’s Critique

Electrifying! The saguaro cactus seems to be reaching up to the lighting. Nicely cropped and technically well executed.

You can add your own comments on Jason’s photograph on the Critique section of ourDiscussion Forum.

Leigh Perry — August, 2002

Leigh Perry
Sydney, Australia

Provia 100F, Canon 17-35L lens at 28mm, Canon EOS 50. Lee 3-stop graduated neutral density filter.
Digital processing: Curves, unsharp masking.

After a spectacular sunrise at Sydney’s Turimetta Beach, the sun went behind clouds and radiated diffuse warm light for an hour, providing that rarest of Australian photographic phenomena — an extended period of shootable light. A large version ishere.

Michael’s Critique

Here we see strong composition, arresting subject matter and sterling technique come together to create a very satisfying landscape photograph. Truely excellent in every respect.

You can add your own comments on Leigh’s photograph on the Critique section of ourDiscussion Forum.

Thomas W. Earle — July, 2002

Thomas W. Earle Pendleton, Oregon (USA)"Sunrise over Mt. Scott" was taken at Crater Lake, Oregon.  I felt Wizard Island provided a nice anchor to the photo since it’s one of Crater Lake’s icons.  The light reflecting off the bottom of the cloud created a nice rainbow effect in the water too.  Any suggestions on cropping?   Fuji Provia @ ASA 100, 1/30 sec @ f16, Pentax 67, SMC Pentax 165 mm f/2.8

Michael’s Critique

Little needs to be said about this very strong photograph, though I don’t find that the foreground-right silhouetted land mass contributes much. The frame could be cropped just above it to create an attractive panoramic format image. Otherwise a very compelling image with a lot of mystery.

You can add your own comments on Thomas’ photograph on the Critique section of ourDiscussion Forum.

Steve Vit — June, 2002

Steve Vit 

Sony DSC-F707, F4.5, 1/125, EV -0.3, ISO100, UV filter, Adjusted contrast and levels in Photoshop and slight sharpening.   Shot taken in afternoon at the geological feature known as the Twelve Apostles, located in South-Western Victoria, Australia

Michael’s Critique

As always, it’s the light that makes this such a visually arresting photograph. Great clouds, a stunning subject and excellent execution. I want to go there.

You can add your own comments on Steve’s photograph on the Critique section of ourDiscussion Forum.

Leigh Perry — May, 2002

Leigh Perry
Sydney, Australia  Provia 100F, Canon 17-35L lens at 20mm, Canon EOS 50.
Digital processing: Curves, unsharp masking.   Taken at Noosa in Queensland. Sunrise was delayed by a dense cloud formation on the horizon. I set up my tripod so the that breakwater converged as near as possible to the horizon. When the sun finally emerged, I took 6 frames over the period of a minute. This was the best. A large version ishere:

Michael’s Critique

Beautiful dramatic light and a clean strong composition make this photograph visually arresting. Very strong, very evocative.

You can add your own comments on Leigh’s photograph on the Critique section of ourDiscussion Forum.

Chris VenHaus — April 2002

Chris VenHaus
Waukesha, WI USA

Taken at Death Valley N.P. a couple of months ago. Canon A2E, Canon 50mm f1.4, and Fuji Velvia. I used PS to lighten the foreground a bit, although the slide has even more shadow detail. Colors are fairly much spot-on with slide. The light blue deposits on the ground are actually salt deposits which are colored blue due to the cool light. A larger image, and other images from my 1 week trip to Death Valley may be found on my home page:

Michael’s Critique

There’s a wonderful sense of depth to this photograph that is aided by the reflection of the colours of the sky in the foreground water. This leads the eye upwards and focuses attention on the mysterious black mountain range that bisects the frame. Compositionally appealing.

You can add your own comments on Chris’ photograph on the Critique section of ourDiscussion Forum.

Loren Fedje — March, 2002

Loren Fedje Chilliwack, BC, Canada  
Nikon D1   This photo was taken at 6:30AM while waiting for the day’s photo shoot to start. Dense fog, as is often the case at this time of year, held us off until 10:30. This was the site of a Retriever Hunt Test with no one on site yet "Oh so Peaceful", so I decided to set up the camera on a tripod on self timer in an attempt to catch the mood.

Michael’s Critique

And capture the mood you did. The feel of a lake on an early foggy morning is palpable. Placing himself in the shot through the use of the self-timer was a clever way of adding the needed human element.

You can add your own comments on Loren’s photograph on the Critique section of ourDiscussion Forum.

Clay E. Williams — February, 2002

Clay E. Williams
Long Beach, Ca; USA

Camera: Mamiya 6 , Lens: 75 mm , Film: Fuji Provia, Exposure: Unrecorded but estimated to be 1/60 @ f5.6 (hand held)

Photo taken in Banff National Park, Alberta, Canada. 

While driving along one of the many back roads, my wife spotted the elk, which were about 100 yards from the road (I approached slowly keeping a tree between the animals and me). I enjoyed the juxtaposition of the Elk antlers with the down-turned bare branches. Photoshop adjustments limited to histogram optimization.

Michael’s Critique

Clay’s instincts we’re correct. The juxtaposition of the antlers and the branches is strong. A very fine environmental wildlife image.

My suggestion though would be to crop more tightly, removing the right-hand tree and a bit of the foreground grasses. This produces a more intimate feeling and also accentuates the antler / branch relationship.

You can add your own comments on Clay’s photograph on the Critique section of ourDiscussion Forum.

Nick Thomas — January, 2002

Nick Thomas
South Wales, UK
nick.thomas3@virgin.netPool & SkyCanon D30 with Sigma 24-70mm f2.8, Blend of two exposures in Photoshop (1/15 at f22 for beach, 1/60 at f22 for sky) with levels and curves adjustments to bring out the reflection in the pool on the sand. Photographed on Southerndown beach, South Wales on a misty overcast afternoon.   Larger image and more images can be found at

Michael’s Critique

Simplicity, texture, gorgeous light and excellent composition make this a highly successful photograph. Nick has also utilized technology well in producing an image that would have been much more difficult to execute with non-digital means. Simply lovely.

You can add your own comments on Nick’s photograph on the Critique section of ourDiscussion Forum. 

Attila Kirjak — December 2001

Attila Kirjak
New York City.

Grand Teton NP at Signal Mountain on a misty September morning. You might or might not critique this photo, I for one I think it was worth to get up early that morning. Technical details: Canon 50mm 1.8 @ f8, 1/10 two frames stitched wit PowerStitch, Provia 100F, tripod, MLU.

Michael’s Critique

I agree completely with Attila. It definitely was worth getting up early. The light is exquisite and the composition of the frame does a wonderful job of capturing the feel of a mountain lake at dawn. A lovely image.

You can add your own comments on Atilla’s photograph on the Critique section of ourDiscussion Forum.

Eric Fredine  — November 2001

Eric Fredine 
Edmonton, Alberta, Canada

Taken with a Canon D30, EF 24-85mm @ 24mm, 1/45 @ f/13, cropped for a better composition, modest levels and curves adjustments applied.

My attempt at a unique view of a Canadian icon: Lake Louise. Taken in the early morning when the sky was overcast with shifting light. The shaft of light on the right was only there for a few minutes.

Michael’s Critique

Sometimes I open a submission and am knocked back in my chair. What a stunning image. Everything works. There’s balance, drama and a strong graphic component. Of course the sunlight shaft is what makes it sing, and sing it does. Location and timing done to perfection.

You can add your own comments on Eric’s photograph on the Critique section of ourDiscussion Forum.

William J. Scott — October 2001

William J. Scott Bellevue, WA  Canon EOS D30, Lens: Canon 100-400L IS @ 400.0 mm
  This shot was taken above Ross Lake in the North Cascades in Washington State.  The fog in the trees only lasted a few minutes after the sun first hit the area.

Michael’s Critique

As is often the case in landscape photography, timing is all. William has done an excellent job of showing us this fleeting moment. A tough exposure as well, nicely handled.

You can add your own comments on William’s photograph on the Critique section of ourDiscussion Forum.

Tony Lewis — September 2001

Tony Lewis
Matcham NSW Australia

Camera: Canon D30, Lens: 100-400 zoom, ISO: 400, Exposure: 500 sec @ F5.6. Image shot at 400mm (effective on D30 – 640mm)

Digitally processed in Photoshop 6; warmed a tad with ‘Levels’ and Zebras opened up a little with ‘Curves’, otherwise as it was.

Taken in August this year at Amboseli, Kenya, Africa. (Amboseli means ‘dusty place’ in Masai and now I know why). We were on our way out at dawn for a days shoot when just after sunrise we came across two cranky male Zebra’s taking exception to one another (not uncommon). They were kicking up a huge amount of dust as you can see and the background was irridescent with the sunlight breaking through. This was a grab shot, it was all over in seconds. Just amazing!

Michael’s Critique

This is a very strong image. I don’t get a lot of effective wildlife submissions, and this is one of the best in a long time.

My only real concern is that at the point where the foreground zebra’s head is against the one that’s in profile, there isn’t enough detail, and consequently a lack of clarity. A frame with both animals in profile would obviously be preferred. I love the light though. Nicely done!

You can add your own comments on Tony’s photograph on the Critique section of ourDiscussion Forum.

Miles Hecker — August 2001

Miles Hecker
Casper, Wyoming, USA

Contax Aria 35-70mm Zeiss lens, Provia 100F, Singh-Ray 3 stop neutral density filter, Nikon LS8000 scanner

Maligne Lake, Alberta Canada

Interesting landscape photos are the result of paying attention to both the geography and weather conditions.

On a recent trip to the Jasper, Alberta area it became apparent that a cold front was about to move through at sunset. The open vistas of Mailgne Lake proved to be a good spot to observe the contrast between air, rock and water in the light of the setting sun. The incredibly soothing glow present in the waters of the lake provided a stark contrast to the violent events unfolding above.

Michael’s Critique

Miles’ photographer is exceptional. The light, location and timing have come together in a way that doesn’t happen all that often for landscape photographers. It’s been said that "luck" is preparedness in the face of opportunity. This must have been Miles’ lucky day. Well seen and executed.

You can add your own comments on Miles’ photograph on the Critique section of ourDiscussion Forum.

Chris VenHaus — July 2001

Chris VenHaus
Waukesha WI USA

Canon A2E , Canon 24mm f2.8 , Fuji Velvia , f5.6

I took this shot after a VERY nasty storm (I was huddled in an open shelter while it was going on). I was amazed to see the Mammatus clouds forming at the back-end of the front and was lucky enough for the rain to stop long enough for me to catch the wonderful light on the clouds. My composition options were somewhat limited due to the fact that county workers were raking the beach in a cleanup effort. The slide is very contrasty, and I did the best I could to get the color correction close to the slide, but in the end I could not get the yellows exact without mucking up the other colors (I used a Minolta Scan Speed w/Vuescan software). The yellows in this picture should be a little less bold, but they’re not that far from the slide. I used the levels adjustment independently from the horizon up and the horizon down to better match the slide. The 2 poles sticking out of the water in the background are actually water buoys.

Michael’s Critique

Wow. The contrast of the low dark clouds against the saturated yellows of the higher levels is really quite compelling. The center silhouetted coastline works as well. I’m a little less happy with the foreground. I think that the composition would be helped by cropping of the bottom 15% of the frame. Overall though, well seen and well executed.

You can add your own comments onChris’ photograph on the Critique section of ourDiscussion Forum.

Gunter Haika — June 2001

GÃ…¸nter Haika
Vienna, Austria

Hasselblad 503CX, Sonnar 5.6/250 SA, Provia III, tripod. Scanned with Imacon Photo.

Madison Valley, Yellowstone N.P. I took several shots with the 250 and 120 lenses, underexposing 1-3 stops to emphasize contrast. This one (exposed for the sky, – 2 stops overall) I like best. Although it is a graphical subject, the shots I took in b&w were not convincing. This may show that monochrome is not necessarily limited to black and white.

Michael’s Critique

Wow! This oneworks. GÃ…¸nter’s photograph instantly grabs ones attention, The composition is almost perfect and the subject handled with a strong visual sensitivity and technical skill. My only small suggestion would be to crop the bottom of the frame so that the falling white edge ended at the corner. As it is now there’s black space at the bottom which doesn’t contribute to the composition. Needless to say I regard this image very highly.

You can add your own comments on GÃ…¸nter’s photograph on the Critique section of ourDiscussion Forum.

Jeff Alu — May, 2001

Jeff Alu Irvine,
This was taken near Niland, Salton Sea, Southern CA, using a Kodak DC280 Digital camera.  I burned out the sky in Photoshop.  This is a mud pot, and you can find many of these in this area of the Salton Sea.  The very small strip of land on the horizon near the center is Mullet Island, just off the coast of the Sea.  I attempted to line up the mud pot and the island, for a positive/negative effect.  I would like to go back and get the same shot standing on a ladder, so that the mud pot would be rounder. 

Michael’s Critique

Jeff has a fresh way of seeing. This monochrome treatment is visually powerful. Though the mud pot dominates he has wisely allowed the sky to occupy slightly more of the frame than the bottom, creating a wonderful dynamic balance of forms and tonalities. The clouds are the perfect final element needed to balance the image. Very strong.

You can add your own comments on Jeff’s photograph on the Critique section of ourDiscussion Forum.

Pascal Jappy — April 2001

Pascal Jappy
Aubagne, France

Shot handheld on 120 Fuji Velvia pushed to 100 with a Fujica 645 folding camera, 75mm lens @F/11. The slide was scanned on a flatbed Epson 1640 scanner at 1600dpi.

The arboretum is located in Godalming (Surrey) in England. The picture was made in August, and most of the arboretum was green and yellow. One tiny sloping patch had red-purple trees in the shade. I had no tripod so handheld the shot. The F/11 aperture was needed to keep as much foreground as possible sharp, and that led to a 1/30s exposure. I had no filter. The picture has not been altered at all after the scan, except for a little unsharp masking and retouching.

Michael’s Critique

What a striking image! Absolutely beautiful. There’s little more that needs be said. It works on every level.

You can add your own comments onPascal’s photograph on the Critique section of ourDiscussion Forum.

Thomas Nash — March 2001 

Thomas Nash 
Warrenville, IL, USA

Nikon F5, Nikkor 20 mm f 2.8AF lens, at f2.8, at something like 1/30sec on Provia 100 F, handheld in a strong wind, but I think I leaned my frozen hands on a fence post.

The big peak is Ausangate, the second highest in the Peruvian Andes at over 21,000 feet. The picture was taken from a site at over 16,000 feet near sunset at a pass somewhat southeast of Ausangate. The pass was near Finaya, the last Quechua village on a rough road 5 jeep hours up from Sicuani.

Michael’s Critique

I’m very impressed with this image. It’s one of the strongest, most interesting photographs that I’ve seen submitted in a while. The colour saturation and delicacy of the clouds and side-lit peaks stand in strong contrast to each other, while the composition is compelling and flawless. 

You can add your own comments on Thomas’ photograph on the Critique section of ourDiscussion Forum.

Rita Woolley — February, 2001

Rita Woolley
Derbyshire , England

Equipment used was a Canon A1 and print then scanned into pc.

The photograph was taken just after dawn looking across the hills at the mist rising over the tea plantations in Kerela, South India in February 1997.

Michael’s Critique

Rita, a self-professed "beginner", has produced a superb photograph. There are many "experienced" landscape photographers, myself included, that will gnash their teeth in envy over this one. Beautifully done, though some digital work could improve it technically the composition is excellent.

You can add your own comments on Rita’s photograph on the Critique section of ourDiscussion Forum.

Leigh Perry — January, 2001

Leigh Perry
Sydney, Australia

Provia 100F, Canon 17-35L lens, Canon EOS 50. Exposed 30 seconds at f/16. Digital processing: levels adjustment.

This shot was taken at Cape Leeuwin, the most south-easterly point of Australia. The lingering West Australian twilights in November exhibit a warm lucency that was a new experience for me. During the period of this exposure, strong winds propelled clouds across the sky, and large waves rolled into the bay.

Michael’s Critique

Leigh understands colour. The warm complimentary tonalities in this image just sing. Compositionally this is also an excellent photograph. Everything that’s neededƒâ€˜ no more, no less. Superb.

You can add your own comments on Leigh’s photograph on the Critique section of ourDiscussion Forum.

Dai Rhys — December, 2000

Dai Rhys Bragg Creek,  Lake Minewanka, Alberta, Canada 8X10 T-Max in Deardorff with 121/f8 Super Angulon. Photoshop 5.0 quadtone.   "The proper artistic response to digital technology is to embrace it as a new window on everything that’s eternally human, and to use it with passion, wisdom, fearlessness and joy" -Ralph Lombreglia, in Atlantic Unbound

Michael’s Critique

This is a stunningly beautiful image. I wish I would see a 20X24" print. Often large format photography is about texture, tonality and detail. In this case it’s all of that but with a beautiful composition and great subject as well. Perfectly executed and very impressive!

You can add your own comments on Dia’s photograph on the Critique section of ourDiscussion Forum.

Thilo Folesky— November, 2000

Thilo Folesky
Berlin, Germany

Taken on Hiddensee-Island in Germany with a Noblex 150 FE. 

Michael’s Critique

This is a beautifully composed image. The silhouette works perfectly and the sun has just kissed the horizon, creating the expectant drama of a new day. Positioning the lighthouse under the tree puts these two compositional elements in harmony with the sun.

I have recently purchased aNoblex 150 UX, and seeing this wonderful photographs makes me excited about the possibilities that this camera opens for my work. Nicely done.

You can add your own comments on Thilo’s photograph on the Critique section of ourDiscussion Forum.

Fred Lord — October, 2000

Colorado’s Gore Range 9 miles north of Silverthorne, Summit County

Fred Lord

Fuji GSW690 – 1/60 sec. @ F/9 w/polarizer handheld 
Fuji Superia Negative Film 
8:00 AM , Saturday, September 30, 2000

Shot from Ute Pass looking WSW. Scanned on Dai-Nippon "Screen" Drum Scanner. I had scouted the location several times previously but in the afternoon and had found it to be less than perfect. Finally, we had some snow on this particular Friday but the aspens were still acceptable so I scouted it that evening with my wife. We felt it had some real potential for an early morning shot. I managed to get up at dawn the next AM and get to the location just as the sun was spilling over the range of mountains to the east. This is the best of six frames shot that morning but the others are very close in quality and I may scan some of them as well. 

Michael’s Critique

Location, location, location. Timing, timing, timing. In real estate, love and photography you can’t beat-um. Fred’s photograph is a stunner. Everything works; the light, the clouds, the leaves, the snow. The severe cropping is very successful as it forces the eye to the critical composition elements. Wish I’d been there.

You can add your own comments on Fred’s photograph on the Critique section of ourDiscussion Forum.

Peter Jarver— September, 2000

Peter Jarver

I have been photographing for about twenty years, and in the past have used mainly the 4×5 format, but more recently am shooting on the Mamiya 7 and the Linhof Technorama.  I make my living from publishing, a small amount of commercial photography, stock library and more recently from our Gallery which is located in Cairns, Australia.

Michael’s Critique

This is a remarkable image. Everything works rightƒâ€˜ the subject is dramatic, the framing perfect and of course capturing the lightning stroke a wonderful bit of luck, or more likely perseverance. Needless to say, I’m impressed and have nothing but admiration for this photograph.

You can add your own comments on Peter’s photograph on theCritiquesection of ourDiscussion Forum.

Leigh Perry — August, 2000

Leigh Perry
Sydney, Australia
Fuji Velvia, Canon 17-35L lens, Canon EOS 50. Exposed 10 seconds at f/22.

Stumbling across these rock erosion leftovers at Balmoral, I liked the way
the foreground rocks appeared almost black and white while the pre-dawn
light in the distance introduced the first colour of the day.

Michael’s Critique

This is a masterful photograph. Technically almost perfect and beautifully realized. Leigh is right, the monochromatic beach contrasted with the breaking light of dawn has a compelling appeal.

The flow of the image is also very interesting and a tension is created. My eye flows from bottom right (foreground) to upper left and then across to the rightƒâ€˜ exploring the curves of the beach below the horizon. I then start all over again. Because of this there is a wonderful tension to the image. 

Try an experiment.Right-ClickandCopythe image above and load it into your image processing software. Then flip it horizontally so that it’s a mirror image. What you’ll find is that a completely different feeling is created. Because the eye now scans from left to rightƒâ€˜ the way most Western languages readƒâ€˜  the tension has been removed. Interesting, isn’t it?

You can add your own comments on Leigh’s photograph on theCritiquesection of ourDiscussion Forum.

Enrico Pocopagni — July, 2000 

Enrico Pocopagni, Genoa (Italy)


Po riverPicture taken in February 2000, roughly at 6:30 p.m. from Gerola’s bridge on the Po, the major italian river. Camera & lens:    Mamiya RZ67 with Mamiya-Sekor Z 90 f3.5W Film:                    Kodak E100VS rated at 100 ISO Light meter:         Minolta Spotmeter F Tripod:                Manfrotto 141RC tripod Filters:                None Time:                  8 sec. Aperture:            unrecorded Flash:                 NoneVenetiansPicture taken in April 1999, roughly at 7 p.m. near Murano (Venezia) Camera & lens:    Nikon F4 with AF Nikkor 300 f4 ED-IF Film:                   Fuji Velvia rated at 50 ISO Light meter:         F4 internal in matrix manual mode Tripod:                Handheld Filters:                None Time & aperture:  unrecorded Flash:                 None
Professional architect, teacher of Building Mechanics and Technology at high school for surveyors.  Theory, History and practice of Photography were my passions from my teenage.Now, photography is not my job, but does have an important part in it.So I consider photography more a cultural activity than a hobby.My favorite subjects are landscapes, especially under particular light, still life and flowers.In my landscapes is almost always present the sign of Man for my main interest is to investigate the relationships between natural world and human history.No need to say that your site is one of the better photography sites I visited ever; very appreciated the possibility for everyone to submit pictures.I hope the love for the beauties of this planet can go far beyond photography, to reach all those that in some degree are responsible of their waste.


Michael’s Critique

These two photographs are beautifully seen and executed. I am particularly taken with the consistency of vision that the two images display. Though photographed in different place at different times with different types of cameras, the use of monochromatic colour unifies them. Enrico has an artist’s eye.

The only suggestions that I would make would be to crop thePo Riverimage slightly at the bottom. A more rectangular format would give it a slightly greater tension and I feel that the removal of the extra ripples would take nothing away from the informational content of the picture.

TheVenetianscould be cropped somewhat more severely. I would crop it on the left side just to the right of the pole and at the bottom just below the wave. Because of the severity of the crop and the fact that this was shot on 35mm, quality might not hold up for a large print though. Overall two very good photographs!

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Michael Reichmann

Michael Reichmann is the founder of the Luminous Landscape. Michael passed away in May 2016. Since its inception in 1999 LuLa has become the world's largest site devoted to the art, craft, and technology of photography. Each month more than one million people from every country on the globe visit LuLa.

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