Parking Garage Ramp

Excellent shot, you are almost sucked in with the perspective!

The first thing I thought when I saw this was what a cool shot. Then, I thought....he was standing in the middle of the lane:-) Been there; done that; not always a good idea. Glad it worked out well and we are privileged to view such a great composition.

A real parking atmosphere !

Cool pic - has a great geometry to it, and I'm a sucker for the look of wet pavement in b/w.

Por fin hemos encontrado la salida, jejeje...muy buena prespectiva, saludos!!!

You have some really interesting geometry going on here. Great tonality.

I like it when I see a good photograph created out of very ordinary circumstances. You've captured a fine sense of light and lack of the same in this shot. Fine composition. Well done.

i like the wetness, but disagree with the edit i.e. the top piece could be burned in a stop and the deep shadow opened up a stop. best...jerry

I like the slippery surface, and the arrow going up, makes you wonder if there is a better view of the city above (or more parking spaces). Nice shot.

Mystery in a common-place scene! Bravo!

I like the wet surface near the grid opposed to the soft light reflected on the wall of the building.

At last I see the exit! i always get lost in those places.

an excellent composition here Grant -- love the 'X' formation! very powerful indeed! beautiful shadows on both sides and gloriously soft light in the middle!

J'aimerais tellement parler bien l'anglais pour te parler de tes photos que j'aime tant !

Symmetry is excellent, and the bright street level contrasts nicely with the darker underworld of the parking ;)

I like the underground feel to this photo & the B&W.

"that's the absolute limit of my p.s. ability"

Though I teach Photoshop, I do my personal in Lightroom these days. If you have a version of Photoshop that has adjustment layers, make two levels [or curves] adjustment layers. Open the shadows on the first, and paint out the light areas on the layer mask with a soft black brush. Lower the lights on the second and paint out the shadow areas on the layer mask. When painting on the mask you have infinite control over the brush; the amount [opacity], size, and hard/softness. Switching to white acts as an eraser. I do know people who scan their darkroom produced prints. If you need more help just send me an email.

I like this shot for several reasons - the sheer urban feel of it, and the fact that it could be anywhere and nowhere, the darkness and light (I like the dark shadows actually, I wouldn't change them - I think they add to the contrasts here and the geometry of it), the arrow pointing outside to where - a box-like building...

I like the rich blacks in the foreground, and feel like a my b&w images are failures when I can't get them. You may not need to do all the work ordinaryimages suggests to get a more complete dynamic range from the scan.

My scanning software allows me to adjust curves and it has some automatic functions to bring out shadow detail. Also, I'm lazy, and the ordinaryimages technique sounds like a lot of work to me. Another alternative is to scan one image for the shadows and one for the highlights and combine them with hdr software. Sometimes I can avoid the hdr treatment simply by using Capture NX which has more direct tools than masks and layers allowing you to get similar results.

available light and available darkness in the same shot and perfectly combined !