Before Tucker and Giacomo came to visit LA a few weeks back, my family embarked on a classic road trip to get me and my car back across the country for the fall semester. As such, we saw it fit to stop by a few places “on the way” from Atlanta to LA: Yellowstone, Grand Tetons, and Las Vegas. Needless to say, Vegas was the only one of these stops that was even close to being “on the way.” I’d like to eventually make my way back up to Vegas when I get a chance, most of what I was shooting while we were there was a spur of the moment, “I wonder what this’ll look like” kind of deal. Now that I’ve got a better sense of the area, I feel like I would be able to get some better material with a more planned out return trip.
As it happens, there are some casinos in the town. And these casinos tend to go… overboard in the theming department. One of the most impressively themed properties I wandered around was The Venetian, complete with functional canals (outdoor and indoor), St. Marks-esque plazas and archways, and generally awesome Italian Renaissance imagery. A long time ago, I saw this image over at stuckincustoms and was stunned that a hotel lobby could ever be so ludicrous. Naturally I decided to take a crack at the same shot, albeit with a tighter framing to cut back on the Footceiling effect that wide angle images usually suffer from (in which the photographer’s feet and the room’s ceiling are able to simultaneously squeeze into frame). In all seriousness though, I am very pleased with how this turned out. The white balance certainly took some after-the-fact loving to coax it back into normalcy but hey, that’s why you shoot in RAW. In the spirit of Las Vegas showmanship and general extravagance, I let this one sit on the tone mapping burner a little longer than normal. It’s a jaw dropping room to experience firsthand and I’d prefer to remember it as the crazy, colorful, and extravagantly themed surprise that my mind first encountered.
This entrance atrium is circular and (as evidenced by the stuckincustoms image) is therefore very susceptible to glaring lens distortion that can make some of the room’s upper arches look twice as big as others despite their being the same size. Actually, it’s probably better that I don’t shoot on a full frame body right now because my 16-35mm is never truly any wider than 26mm, lessening that disconcerting distortion while making me put a little more consideration into composition. Super wide angle (true 14mm or thereabouts) naturally draws an initial “wow” reaction because it’s so shockingly wide… but if you’re not careful it can turn into a shallow “wow” crutch for an otherwise unremarkable shot, giving you an freshly distorted but still unremarkable shot. Just my two cents.
At any rate, there’s PLENTY more to come from the Yellowstone/Tetons/Vegas/Disneyland cornucopia — And that’s just me! I left 90% of the Yosemite stuff to Tucker and Giacomo so there’s lots more goodies around the corner…