Martin Grahame-Dunn’s La Mezquita

It is appropriate that the subject of Filter Factory this issue should be the Mezquita of Córdoba, as the feature was compiled and finalised on the Arabian Peninsula during our recent visit to Dubai and accompanied by the sound of the muezzin calling the faithful to prayer!

Córdoba dominated Moorish Spain from 30 years after the conquest. The ruler at the time was Abd ar-Rahman and he began building the Great Mosque (La Mezquita) after purchasing the site of the cathedral of St Vincent. Up until that time the building serviced the needs of both Muslim and Christian worshippers with a dividing wall between the two halves of the building. The ruler’s son, Hisham, completed the first phase in 796 and it comprised about a fifth of the present area.

The Mezquita continued to reflect the growth in importance of Córdoba within Moorish Spain and was completed between 977 and 1002. At its peak it could hold 40,000 worshipers. In 1523, three centuries after the Christians had reconquered Spain, a cathedral was built in the middle of the mosque, an act of architectural desecration even acknowledged by its perpetrator (Carlos V) “… but you have destroyed something that was unique in the world.” (With a little irony, the Hahnemühle media, used to create the prints, was from the manufacturing facility started just 50 years later.)

Thus the scene was set for (somewhat) local resident Martin Grahame-Dunn to take a few shots and try to interpret them, using Nik Filters, as pieces of artwork, rather than direct record shots.

or each example, we set out the original image and data on its exposure conditions. We then feature the final image and describe the succession of Nik filters Martin employed. What we cannot do is record for you every stroke that he made with his Wacom pen, however, he emphasised to us that using the Wacom Tablet in conjunction with the Nik filters has pushed him back to his painter’s roots, building layer upon layer of effects, in sympathy with his vision of the final image. Having watched him work his images we can report that he is massively enthused by both the Wacom/Nik ‘system’ and output via the Epson 3800 (to Hahnemühle Photo Rag Bright White) – dogs and tails spring to mind!

Roof Arches
Camera Nikon D200
Lens Nikon 17-55 f2.8 used at 26mm
ISO 1600
Exp 1/200 at f2.8
Light balance cloudy
The white balance was set to create a cooler image in
anticipation of using the Midnight Filter. Nik Filters used
were:
Black and White Conversion, blended through, in selective
places.
Contrast Color Range (to enhance the reds).
Midnight Filter.

Nik Pro Sharpener 2.0 in selective places
Mihrab
Camera Nikon D200
Lens Nikon 17-55 f2.8 used at 17mm
ISO 1600
Exp 1/15 at f3.5
Light balance tungsten (2950°K)
The image was cropped and aligned in Photoshop.
The levels were adjusted to lighten the image and the colour
balance was cooled.
Monday Morning Sepia (Grain set to zero, Brightness kept
within the hashed area, Blur kept within the marked area,
colour set at 50%)
Nik Pro Sharpener, particularly to enhance the detail in the
arches.

The Mirador
Camera Nikon D200
Lens Nikon 17-55 f2.8 used at 17mm
ISO 100
Exp 1/1000 at f2.8

Light balance cloudy
Martin’s main aim was to exploit the primary red colour and to bring a certain harmony with the other shots in the series [1]. The blue component of the mosaic was also emphasised. The image was darkened to the mood of the other shots using levels in Photoshop, the image was then cropped and straightened to produced accurate alignment (the building itself is not square or level, this was respected!) [2] Midnight Filter The blue of the mosaic was strengthened using the White
Neutraliser [3], selecting the blue with the eyedropper tool. Nik Brilliance and Warmth was used to warm the red[4]. [5] Selective dodging and burning using selective sharpening with Pro Sharpener [6] and the actual mask [7]. The final image before borders were added is shown in [8]. OUTPUT Epson 3800 set for 2880dpi, Matte Black ink, media set for WCRW and Epson profile Pro38 WCRW.icm used. Media, Hahnemühle Photo Rag Bright White 310gsm A2 sheet.

Photo Quote: To see a World in a Grain of Sand And a Heaven in a Wild Flower, Hold Infinity in the Palm of your hand And Eternity in an hour. - William Blake,