|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 60 |
Jun 21 |
Comment |
Thanks Bernie. I appreciate the praise and encouragement. |
Jun 28th |
| 60 |
Jun 21 |
Comment |
Surreal Man. Beautiful. That's all I have to say. |
Jun 17th |
| 60 |
Jun 21 |
Reply |
Thanks John. I think you're right about motion blur not being necessary. In the course of the last couple of months, I've improved my eye at picking out those "dynamic" images and poses that convey motion, even in a crisply frozen image. That's what my mentor (college athletics photographer), was looking for. Truth be told, I think it's easier too. Effectively tracking just a portion of the body (eyes most likely) and ensuring that is in tight focus while allowing other body parts to blur due to speed, would be a lot tough than just freezing everything, and letting me sort it out later. Anyway, just my thoughts... |
Jun 11th |
| 60 |
Jun 21 |
Reply |
I like the looser crop with living space better too, but (I am learning) the sports guys want it tight. Different styles I guess. |
Jun 7th |
| 60 |
Jun 21 |
Reply |
This sparks a very very interesting discussion re: cropping. So, I'm including the original image, and my favorite crop. So, in my very first go, I actually included the runner on the right edge of the frame, becasue I thought it gave context, but because the other runner is chopped off and blurry, he doesn't detract from the subject. I use this technique frequently, but I seem to be the only human alive who appreciates it.
So, I then went to my favorite crop, which has living space, but IMHO |
Jun 7th |
 |
| 60 |
Jun 21 |
Comment |
|
Jun 7th |
 |
| 60 |
Jun 21 |
Reply |
This sparks a very very interesting discussion re: cropping. So, I'm including the original image, and my favorite crop. So, in my very first go, I actually included the runner on the right edge of the frame, becasue I thought it gave context, but because the other runner is chopped off and blurry, he doesn't detract from the subject. I use this technique frequently, but I seem to be the only human alive who appreciates it.
So, I then went to my favorite crop, which has living space, but I then had to contend with the hurdle to the right, and the words "PUGET SOUND" resulting in distraction at the edge of the frame.
So the question becomes, if you're going to crop tightly, how tightly can you do it. In this case, what drove the train for me, is that I didn't want the word PUGET included, unless I could include all of it, and I didn't want that lone fence post standing between the runner and the edge of the frame, which I didn't like the look of at all.
The decision about what to include, and what to exclude often turns into a much more challenging process than I would have thought, at first glance. |
Jun 7th |
| 60 |
Jun 21 |
Comment |
I agree with your choice of crop on this Jane. I appreciate the context that the wider crop gives, while still having enough detail on the subjects for them to have impact. Great timing in that the whitewater doesn't appreciably merge with the subjects, IMHO. And the two subjects facing each others tells a story of sorts. This image just keeps piling up good on top of good. I even think the small ripples near the bottom of the image frame the subjects. DoF is cherry, and the subjects are crisp. Light is really good (better on the juvenile than the adult...I think) so I'm guessing you were up very early that morning, no?
Suggestions on improvement? Well, you know he whole odd numbers thing, right? Well, first, you know I think that's BS anyway. Second, I think another bird in the frame would thrash your story. So if anyone pulls that odd numbers thing on you, just smile and scratch them off your Christmas list. But, I would like to be able to see something in the left side of the mature bird. It's just a black blob...on my screen at least. Frankly, I don't really hold that against the image, and given the lighting conditions, having dark shadows in...well...the shadows, was pretty much unavoidable. I don't think it really sabotages the impact anyway. But, it would be nice.
I think this is a great image. Keep cranking out this kind of stuff and you'll have a fan club soon. Just don't start calling yourself an "influencer."
|
Jun 5th |
| 60 |
Jun 21 |
Comment |
Hey Bernie, looks like you've found your calling. Seeing and depicting the human condition, poignantly, inside the maelstrom of public life, is THE photographic art...IMHO. That's not to diminish the skills of specialists in any other genre. But, being able to compose like a landscaper, light like a portraitist, and capture like a sports photographer...all while doing it on the fly and not getting punched in the face or run over, is THE highest calling. You've set yourself a helluva bar Brother. Now go out there and do it again.
Anyway, I like all the lines of tiles, the architecture, bars, which to me bring my eye to the lower left crash point, which is where the subject is waiting for the eye. The subject is sharp to me, but everything to the right is just soft enough to bring the eye back to the subject (good use of DoF). The frame darkens to the right, making it fade from interest for me.
Is there anything you would like to change about this? |
Jun 4th |
| 60 |
Jun 21 |
Reply |
That's high praise Richard. Thanks. |
Jun 4th |
| 60 |
Jun 21 |
Reply |
You're right on all Stephen. I like panning and do use it on occasion. It takes experimentation with shutter speed, (I find that there are orders of magnitude; running, driving, flying) but it can really convey that sense of motion. In this particular case though (and in the case of most athletics), the customer just isn't looking for that. In the same way that they're not looking for the balance that living space would provide for the image. In my limited experience, they want crisp, dynamic, and up-close depictions of athletic prowess ("the thrill of victory and the agony of defeat"). Art is not an issue.
Re: your point about subjects approaching versus subjects passing, IMHO, there are challenges in both cases, which I've had to take into account. Subjects approaching make the most demands on your auto focus system. I've had more than once occasion when a basketball player charging down the court will be in focus for 4 photos, but photos 5 and 6 are not. I think this is probably because the closer the subject is to you, the greater percentage of that distance they cover in a single stride or frame. This is exacerbated by the small f stops demanded by indoor photography, which gives unforgiving depths of field.
On the other hand, a subject moving perpendicular to the axis of the lens is moving along your DoF, and demands less of your autofocus therefore, giving you a better chance of keeping them in crisp focus. I think this works REALLY well for photographing vehicles, especially if you can keep yourself inside the radius of the turn, which gives you a super opportunity to create panning shots.
Anyway, those are just my observations. I think panning is a useful tool, and I like to think of it as leading the target, as one would with a rifle. It takes practice. |
Jun 4th |
5 comments - 6 replies for Group 60
|
5 comments - 6 replies Total
|
