|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 60 |
Aug 20 |
Reply |
....and as a reminder, an individual can post up to 4 images. In some examples the photographer can show the entire post-production progression from Original in-camera image to the Final. :) |
Aug 19th |
| 60 |
Aug 20 |
Comment |
Good day, Indraneel.
A very thought provoking idea: seeing (perhaps, even hearing) things used in past decades - here and now in our present 21st Century life. In this case, this turn of the century car (and appropriately painted in bright yellow) gets everyone's attention as it moves along with modern day traffic - 'a sight for sore eyes?' Maybe for some it is.
However, I do not feel the impact you are trying to project in this composition: In my opinion, there is only two adjustments (without excessive photo-shopping) that can enhance this particular image: 1. re-crop to the edge of motor-bikes and a very small portion on the entire left edge of the frame (see my edit) and 2. as Jane suggested, saturate the yellow a little.
Alternatively, again as Jane has already pointed out, another vantage point needed to be realized to create the visual impact you were seeking.
The slightly out-of-focus image we are seeing is because you only dialed in 160 of a second while in Shutter Priority Mode. Though you are correct in choosing (SP mode) in an attempt to control the Motion of the cars, 1/160 is not enough - instead 1/250 or 1/400 sec would have done the trick, but only if you had enough light coming through the lens.
This will easily turn into a longer conversation and if you are interested, Richard Story may place this discussion in the "Bulletin Board" DD-60 will be getting soon.
By all means feel free to respond here or reach out to me at:
lance.visualizingart@gmail.com |
Aug 19th |
 |
| 60 |
Aug 20 |
Comment |
Gorgeous image, Richard! Riveting! |
Aug 19th |
| 60 |
Aug 20 |
Reply |
Yes, this has been a very productive discussion and with Richard getting the PSA to add the Bulletin Board, you all will be able to take some of these discussions there (including loading as many images as you want) thus continuing a specific dialogue regardless of what month you are currently in. Very cool function that we enjoy in DD-87 and DD83-Mono. Come by and review (and join) our current discussions. |
Aug 19th |
| 60 |
Aug 20 |
Reply |
It is refreshing you are discussing the warranties between more traditional and digital extreme post-production processing; this is a deep and serious discourse, indeed. A topic I am very passionate about.
Turn of the Century art critic, playwright and curator Sadakichi Hartmann..."I do not object to retouching, dodging or accentuation as long as they do not interfere with the natural qualities of photographic technique".
Fine Art Photography, is photography that combines the psychophysical response associated with viewing fine art photographic aesthetics; that of which whose values lie primarily in its beauty, and the art of photography, which combines the artist's proprietary technical and visualization skill sets. In union, culminate in forging individual artistic visions that create photographs expressing an idea, a message or emotion. (L. A. Lewin 2019)
|
Aug 18th |
| 60 |
Aug 20 |
Reply |
Hi Damon - valid points, indeed.
The four vessels are an adequate number for the rest of the compositional background, for sure, but their placement is not attractive on initial observation: however, the more I study your photograph the more I am getting more involved with the overall scene - and balance.
Also, another artifact (or boat) behind the 3rd vessel from the left, is distracting me along with the blurred (likely birds) that I feel need to be deleted like we do with lens dust.
In the end, and if possible, I would go back and try to work the location again - if just for an exercise in compositional variations.
|
Aug 18th |
| 60 |
Aug 20 |
Reply |
Understood! Thank you Bernie! :) |
Aug 12th |
| 60 |
Aug 20 |
Comment |
Hey, Jane, what an engaging composition of Neowise! Frankly, one of the more interesting ones I have seen. The lighthouse really added an extra element of interest.
Covering the glass to eliminate even more glare was a great idea - and you could maybe even have done it longer. Well conceived shot!
Lance
|
Aug 12th |
| 60 |
Aug 20 |
Comment |
Hi Bernie! I was wondering, what are you referring to in this statement?"I used Adobe Photo Elements 2020 to crop both photos" What two photos?
In any case, though the birds head is nor crystal sharp, printed and viewed from a distance will work well, indeed. Along with Cropping suggestions from Emmy, I think in print this may be a keeper! (It may work even better if carefully converted to Black & White). Just a thought! :)
|
Aug 12th |
| 60 |
Aug 20 |
Reply |
Hi Larry, wonderful capture. Actually, the wing tips being out of focus can also be viewed as more engaging, dramatic and elevate a sense of motion (appropriate for this subject) and creates almost a 3-D depth to the scene. Very nice.
Lance A. Lewin
Admin DD-83 & 87 |
Aug 12th |
| 60 |
Aug 20 |
Comment |
Hello, Damon.
My first impression is of a soft and tranquil place - relaxing. The overall composition is engaging by the subjects (boats) being off to one side making the location (the water and distant mountains) prominent; a good formula for creating both a sense of "place" and interest. Your eye to capture this frame should be well appreciated. In the end however, the composition does not "prick" me because of the boat grouping, indeed.
However, a word on the capturing a scene in real-time compared to Manipulating the scene to fit a better or more interesting composition: I can not agree at all about Cloning (in/out) anything that represents a "major portion" or key element of the scene - unless you plan on presenting the piece as a Composite or illustrative piece.
As you stood on the banks of this (lake?) or the walk-plank of the ferry, I can only suggest triggering more shots while moving into different positions to better "frame" the picture: that is, moving the boats by moving your body (your position) to best articulate an interesting composition. Alternatively, in many cases we need to travel back to re-work interesting locations. "Points to Ponder".
Lance A. Lewin
Admin DD-83 & 87
|
Aug 12th |
| 60 |
Aug 20 |
Comment |
Good day, Emmy! I think the Dodge & Burning was done effectively. The scene presented is authentic - and with so many people over-using post-production software, this is a breath of fresh air. The two individuals give the necessary perspective so the viewer can engage the "vastness" that lay before them. I am a passionate BW photographer, but also agree so many compositions are stronger in color; this may be one of them. Well done!
I look forward to dropping by and seeing more of your work and the others in this group.
Lance A. Lewin
Admin DD-83 DD87 |
Aug 12th |
6 comments - 6 replies for Group 60
|
| 83 |
Aug 20 |
Reply |
Excellent point, Georgianne.
Another way of seeing this type of work is through the thought-provoking technique used to highlight the lines and surely the dark and light shadows. Agree, the "fading" areas needed to be absent from the composition to allow the full impact to present itself.
For an alternative compositional idea, could this scene still have been realized without Cloning? Thus eliminating the faded areas...."Points to Ponder". |
Aug 19th |
| 83 |
Aug 20 |
Reply |
Hi Debasish....I am glad you like it - and thank you for your kind words.
Talking Point: It is also important to realize I did not "search" for this composition - it just appeared as I was meditating. And this is an important lesson in "Visualization" you hear me speak about often: becoming one with your immediate environment through careful and even through a meditating state helps reveal hidden beauty otherwise hidden among the ordinary or common place.
Thank you, everyone. |
Aug 18th |
| 83 |
Aug 20 |
Reply |
Good evening, Larry! Gee, really appreciate these encouraging words, I am flattered, as a review of your work (and words and descriptions) are respectively, artistically composed and educational through detailed analysis. I look forward to continue sharing ideas and images on these boards with you.
Thank you, Larry. |
Aug 12th |
| 83 |
Aug 20 |
Comment |
Jose, well done! A terrific use of space to create a sense of "Place" which is a key dynamic in the this particular composition.
A reverse tactic I enjoy seeing: where the location is prominent and the thus inadvertently promotes the subject - the Bride in this case. In fact, because her status as a Bride, the composition is very effective. |
Aug 7th |
| 83 |
Aug 20 |
Comment |
Good day, Georgianne! Really a lovely composition: love the details seen in the colored rock and reflection in the water - there are so many minute details to explore, but I feel key details are lost in the conversion to BW.
Though I love the toning of the final, again, details from the color are lost, but I feel could have been preserved. I edited your 650kb file in PSCC to increase overall exposure. In Silver Efex Pro-2 ran it through a Green filter. Custom toning finished the piece. In my opinion, and through observation, I see the same details as in the color version as in my edited BW version.
In other words, what I was trying to achieve was more separation between the different textures, shadow and light, which is key in the color version.
Yes, these are subtle changes, indeed. |
Aug 7th |
 |
| 83 |
Aug 20 |
Comment |
An interesting idea, Dirk, but its not "pricking me". I love the extreme Black and White Contrasts and the subject is perfect for this....but I am not a fan of the cloning technique, so it puts me off. |
Aug 7th |
| 83 |
Aug 20 |
Comment |
Hello, Debasish.
Absolutely a wonderful perspective! The idea of looking through these magnificent arches out across the landscape is well conceived. On its own this composition (the whole scene) is beautiful while being powerful, too. I hope you decide on the proper paper and then print a matte & framed piece for us to see.
However, it is a bit dark as Judy already suggested.
One main reason is the camera exposure system always calculates or registers on the brightness portion of a scene, thus underexposing other parts and revealing anywhere from a Slight underexposure from real-time to Extreme blackness compared to real-time.
Sometimes even on-camera exposure-correction is not enough, but in fact I use this correction tool regularly - and is on most film cameras for decades, (see attached photo) and nowadays on digital cameras, too - it is a very useful tool, indeed.
Judy's very subtle change in exposure to the arches seems to correct this issue. |
Aug 7th |
 |
| 83 |
Aug 20 |
Reply |
Interesting thought, Jose.
However, if I ever print this Triptych, it would have to include an intimate (or delicate) frame (no matte) and surely printed on Japanese (or similar) paper: in this way the Triptych should be able to retain its Spiritual aura.
"Point to Ponder", indeed. |
Aug 4th |
| 83 |
Aug 20 |
Comment |
I appreciate the feedback!
Simply, I am presenting work that hopefully stirs your imagination in finding new perspectives and aesthetics.
This was a short experiment - I decided not to spend too much time on it. However, I may come back to a similar prop to engage finding alternative views. Thank you.
|
Aug 4th |
| 83 |
Aug 20 |
Comment |
Hello, Judy!
You have surely picked a safe and appropriate subject to learn/ experiment with light painting - the test subject/s work well because of their varied size and spacing
from the camera and from each other: in this case, the light will affect each tree differently, as such, a variety of options to add/reduce or otherwise create
different effects - hence, different visual compositions.
As A Reminder for everyone: It is also important to remember to "maintain" one composition during a test to get accurate results. Meaning, you may have a two dozen shots of the exact same scene (without moving the tripod) as you go through a series of different light set-ups, timed exposures and aperture settings, also referred to as "Bracketing".
These examples represent a great start - and the overall illumination is soft and inviting. (An evening with mist, fog or dew would surely add another component to this project).
Can you please explain to me exactly what type of light source you are using to capture these? Thank you, Judy! |
Aug 2nd |
6 comments - 4 replies for Group 83
|
| 87 |
Aug 20 |
Reply |
I like this Stephen. |
Aug 18th |
| 87 |
Aug 20 |
Comment |
Hello, Graham! A fine capture of a most iconic venue, indeed. The BW rendering only increases the viewer engagement.
Talking Points:
Though Mr. Levitas suggest viable options - I feel we do not want to crop this scene as your frame (likely seen through the viewfinder) allows the viewer the full breadth and scope of the location: you have successfully given the viewer a sense of "place" and grandeur at Gare de Lyon train station, in Paris.
Instead of cropping out the Bright (or blown) area defining the uncovered portion of the station, try carefully "Burning" the area in PSCC or other simple software tool. (Graham, I took your photograph and did a little Dodge & Burn to it: bring them up side by side on your laptop or desktop computer to review: a larger RAW file would have revealed more and better adjustments). In any case, the example keeps your chosen frame but adjusts the exposure details some. |
Aug 18th |
 |
| 87 |
Aug 20 |
Reply |
....there you go, Steven! Perfect. Well done and thank you for your comments....of course, in your case, the photograph was more of a "search to capture" where my composition was seen unexpectedly during meditation. |
Aug 18th |
| 87 |
Aug 20 |
Reply |
Yes, this is a perfect example for using the Hyperfocal focusing points - a major "tool" or technique in Landscape photography. Jennifer asked me to elaborate on this several months ago - but I did not post the article. Great job in describing this here, Steven. |
Aug 6th |
| 87 |
Aug 20 |
Comment |
Great capture, Jennifer! I really love this....extremely clear and focused eye - which is key for success in especially, wildlife compositions: the eyes need to be in focus. Here the shallow (Dof) creates a most inviting portrait for us to enjoy. Well done! |
Aug 6th |
| 87 |
Aug 20 |
Reply |
.....thank you, Jennifer...yes, the trees-sky scape is the only part in focus and the rest is extremely cerebral, thus needing some deep though and attention to interpret the whole.
Appreciate your comments! |
Aug 6th |
| 87 |
Aug 20 |
Reply |
....and I must add to your comments Dale, that The "Art of Photography" can only maintain its virtues as a (Proprietary Genre of Art) if artists' maintain the very techniques that make Photography one of the hardest art genres.
19th and 20th Century art critic, playwright and author, Sadakichi Hartmann, more than once commented for the need that photographers adhere to the tools and techniques associated with photography in maintaining a valid artistic composition…'Photography must be absolutely independent and rely on its own strength in order to acquire that high position' (in art). Hartmann continued, "I do not object to retouching, dodging or accentuation as long as they do not interfere with the natural qualities of photographic technique".
In 21st Century photography has slowly morphed into a Digital Art genre using photography as its medium. Two different techniques and approaches that need definitive and separate categorization. This is a deep and powerful discourse, indeed. |
Aug 6th |
| 87 |
Aug 20 |
Reply |
...I agree with all your assessments relating to the "Circle" that adore and relate to (what I refer to extreme abstract painting). Some of those pieces really work well, but others seem to be jumping on the band wagon to be "included" - or perhaps some are being contemptuous toward the modern art genre, in the process their work loses any type of identity.
In my new series Metamorphosis, I will be trying to create the "abstract-construct" more palpable so the viewer can maintain a reasonable attention span to slowly digest and create interpretations for themselves.
Thank you for your comments, Chan. |
Aug 6th |
| 87 |
Aug 20 |
Comment |
Indeed, Jo, you surely have the perfect model!
In any case, another fine example of your Portrait skills and post-production workflow to this final BW presentation.
Lovely! |
Aug 4th |
| 87 |
Aug 20 |
Comment |
Hi Dale...Chan asks a good question...so what was the source of lighting?
Regardless, a very impressive Illustrative presentation, likely a product of a heavy "structured" filtering. For a long time and even in some current sport magazines, this technique is used very effectively, though a bit more on the side of hyper-reality: a perfect aesthetic for this type of sport related subject, indeed!
Well done! |
Aug 4th |
| 87 |
Aug 20 |
Comment |
Steven, this is a wonderful composition: the crop really is perfect and the overall presentation is very engaging!
Absolutely great you had the opportunity to get this position in the street - Super!! |
Aug 4th |
| 87 |
Aug 20 |
Comment |
Chan...this is a wonderful composition! Well done on capturing this lad at this precise point! The sense of "Place" is perfect: any further cropping would undermine this very definitive characteristic. The colored light-bulbs is an important detail that adds scope-of-interest.
An authentically presented composition! Bravo!
|
Aug 4th |
| 87 |
Aug 20 |
Comment |
We can continue this discussion on the Bulletin Board if you want. Thank you, everyone. |
Aug 4th |
| 87 |
Aug 20 |
Comment |
Wabi Sabi Aesthetic Philosophy: here is an example of (New) work I have just begun: the untitled piece is from the Chapter "Metamorphosis" from my Intimate with Nature series. Currently "Metamorphosis" will be a Film based series. Hope you enjoy. Thank you.
Tech: Tmax-400 (pushed to 800 in developing) |
Aug 4th |
 |
| 87 |
Aug 20 |
Reply |
Hi Chan. I spent a bit more time talking about Wabi Sabi in the other DD group I Admin - DD-83: feel free to visit the "Bulletin Board" there and stroll through to the discussion; I hope my words help a bit more. In the end, I present these ideas to expand everyone horizons, as it were, and to realize "beauty" in the ordinary without trying to manipulate a scene in creating it.
I was made aware of the PSA webinar yesterday from people in the DSG-31 Mono group - interesting timing.
|
Aug 4th |
| 87 |
Aug 20 |
Reply |
Hi Steven....red mug with white interior.
|
Aug 4th |
8 comments - 8 replies for Group 87
|
20 comments - 18 replies Total
|
