Summer Silhouette -- Seattle, Washington

Summer sunsets in Seattle are a bit unusual because its high latitude tends to make them linger and change colors, subtly, across much of the sky. This photo is taken at sunset, looking to the south. The sun is far off to the right; more in the northwest than west. The photo was taken from my apartment window.

Summer Silhouette — Seattle, Washington

8 thoughts on “Summer Silhouette — Seattle, Washington

  1. Actually, this may be a sunrise, since there is light on a eastward-facing facade of one of the buildings. Or that could be a reflection off one of the glass towers. Either way, the sun was either far off to my left or right, since this was definitely taken looking south.

  2. Stuart – sure looks like sunset light (lovely either way)… what kind of lens did you use? Interesting “flattening” of the buildings together and scale to Mt. Rainier. In fact, was this film?

  3. Hi Dawn. This is a scan of a print that was, indeed, from negative film; probably Fuji with a relatively low ISO. Agfa film of the time would have reproduced the warm colors a bit better, but what are you gonna do? The lens was an 80-200mm zoom and probably more toward the 200mm range, so that accounts for the flattening you see (good eye!).

  4. You already answered a couple questions I was going to ask. One of my software processing packages has a suite of film effect emulators, including a few different Fuji types. I have no film background to draw on, but I’m experimenting a bit with the kinds of effects they give you. I imagine in a place where you get that kind of lighting complexity, the choice of film can take a shot a lot of different places.

    How many different colors are there in that sky, anyway? Wow.

  5. Rule of thumb for film of that era, Sam. Kodak = beautiful yellows. Fuji = beautiful greens. Agfa = beautiful reds. Living in the Pacific Northwest, I usually had Fuji loaded into my camera because of the rich greens there.

    • I was in the process of figuring out the Kodak/yellow thing. I used it in processing that shot of Pecaut’s the other day to get the yellow in the superstructure and it also really brought out the lights in my “Mr. Man” shot. Have to play with the Fuji and Agfa some, but there seems like a lot of potential for injecting a little nuance here and there so long as I don’t overdo it.

      • Sam, I was totally a Fuji guy after I got over my B&W phase, which morphed into Kodak print and slides and a real dissatisfaction with all their color print products (except Kodachrome). Stuart’s use of the Fuji in the northwest makes perfect sense. But it also had a reputation for supersaturation of colors across an entire frame’s color range, which was perfect for a lot of Colorado mountain shots because frankly, the Colorado rock and gravel can look awfully dreary (I can say this, I’ve lived in Colorado more than anywhere else in my life). Sometimes it did reach overkill, but there seems to be far more affectionate mention of the Fuji film over all the others by the professionals I’ve been reading over the years.

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