This time, I visualized the scene in black and white, but with a full dynamic range and the deep depth of field that shooting at 16mm brings. I also chose a lower angle of view than before to bring some drama to the prow of the decaying hull and highlight the texture of the paint flakes and lichen. But even at 16mm, that composition was beyond the ability to keep everything at its sharpest. Back in the film days, with a view camera, some tilt of the lens would have neatly solved that problem. Fortunately, digital tools can too.
