|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 49 |
Dec 23 |
Reply |
You are correct about the ambient light. This was shot just after dusk on a cloudy day with all the house lights turned off, so it was very close to total darkness. I set the Lumecube to a very low output to enable me to extend the exposure to 30 seconds, which allowed a lot of light movement to even out the exposure quite a bit. By the way, I won a $100 gift certificate from Hunt's Camera at one of the PSA general sessions in Williamsburg, so I put it towards the Lumecube It's a really neat lighting tool, and small enought to fit in any camera bag. |
Dec 15th |
| 49 |
Dec 23 |
Comment |
Well, I must admit, I chose to use the stump version of this image out of sheer cussedness, because it would give us an opportunity to discuss AI.
For starters, I most likely wouldn't submit this to a PSA competition, although current rules would allow it in an Open Color category. The stump is not my work, or the work of any other photographer. It was created from nowhere by nobody, unless you count the Adobe Cloud as somebody.
There was an open meeting on AI at the PSA Conference in October, and the hard rule at thee moment is that it cannot be used in any of the "Reality" categories, Nature, Wild life, Travel and Photojournalism. And a totally AI-generated image cannot be used in any category. |
Dec 14th |
| 49 |
Dec 23 |
Reply |
Here's the secret to dodging and burning - set the strehgth to 10% or 20%, and then use a brush set just a little smaller than the area to be corrected, with an edge hardness of 0. Then use small overlapping strokes to achieve your goal. This enables your work to blend in. |
Dec 14th |
| 49 |
Dec 23 |
Comment |
I did a very ruthless crop to try to further emphasize the intriguing tunnel effect of the porches. As one of my mentors told me "what you leave out is more important then what you put in." |
Dec 13th |
 |
| 49 |
Dec 23 |
Comment |
Alan, I'm going to take this image in the way you no doubt intended it, so Merry Christmas to you, and Bentleyville, too. |
Dec 13th |
| 49 |
Dec 23 |
Comment |
I also agree that the leading lines are a compulsive compositional element, but I tried a different way by increasing contrast and blacks and slightly increasing density. |
Dec 13th |
 |
| 49 |
Dec 23 |
Comment |
I've shot a lot of moving water, mostly in HDR, and it is very difficult to avoid burning out the highlits on a time exposure. I think this is a case where you should follow the new digital adage "Expose for the Highlights, post-process for the Shadows." (It was the other way round for film). One stop lower might have captured more of the highlights, and saturated the greens. |
Dec 13th |
| 49 |
Dec 23 |
Comment |
I have to say I likr the muted color, and as far as Impressionism goes, I'm going to call it a Seurat. |
Dec 13th |
| 49 |
Dec 23 |
Comment |
I'm going to agree with Josh and Stephen regarding cropping just under the road, but I would suggest that you look in your outtakes for a version pointed up a bit higher, so it includes the horizon line. You can see the beginnings of some haze as you move up towards the top, and I'll bet you there was an appealing mist above those background trees. |
Dec 13th |
7 comments - 2 replies for Group 49
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7 comments - 2 replies Total
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