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05/15/2003 08:54:28 PM · #1 |
Please comment on what these photographs may need -
Bob
Message edited by author 2003-05-16 01:10:32.
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05/15/2003 09:00:23 PM · #2 |
Nice shots, RLS! In the B/W image, the forms of the objects stick out and are enhanced. Since the color in the first shot doesn't do much for me, I like the 2nd that concentrates on forms and shadows. I also like the composition and the void at upper right. I find the tree very interesting, but the building isn't all that engaging, even in B/W.
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05/15/2003 09:11:44 PM · #3 |
Thanks David,
I've added a third photo.
Bob
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05/15/2003 09:29:46 PM · #4 |
The first two photos have that interesting tree, but the third photo has the repeating patterns of the barn roofs to make it interesting, and also some interesting sky.
A couple of things I've learned to ask myself when I take a picture are:
1) Where's the drama? What makes this an interesting subject enough to spend time looking at it? What's the catch or what's the hook that compels me to look at it? A barn or tractor or tree isn't enough. Is it the textures? The way the light hits it and makes it glow in an unusual way? Is it the juxtaposition between the subject and its surroundings? Etc. etc. etc.... Once you answer this question, I feel, then you'll know what you need to focus on and zero in on in your photographic treatment. If I saw the scene in your photo above and thought: "what a cool tree and barn!" Then I would ask myself: "why do I think this is cool?" If I answered, "I probably like the shapes of the objects on the expansive background," then I would know that I would have to do everything I could to communicate that in my photograph; perhaps I would include more landscape, or raise the horizon line to show lots of expanse. But if I said, "I like how the rugged tree contrasts with the bland outlines of the barn," then my photo would be much different, and I would have a totally different point of view, composition, focus, depth of field, everything, so I could really contrast those textures and feelings.
2) Does the photo tell or suggest a story? Kind of an off shoot of the first question. Why does the tree and barn "speak to me?" Do they indicate that something has happened or will happen? Your tractor photo in another thread may tell a story in this way, as it is old and perhaps has things to say about time and the past and how the past affects the future or how the present neglects the past, etc. These are stories, though often subtle.
Does that help? It may be kind of weird, but that's my own process in a theoretical nutshell.
I'm just interested: Why do you like the tree and barn?
Message edited by author 2003-05-16 01:34:45.
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05/15/2003 09:44:15 PM · #5 |
Originally posted by dsidwell:
The first two photos have that interesting tree, but the third photo has the repeating patterns of the barn roofs to make it interesting, and also some interesting sky.
A couple of things I've learned to ask myself when I take a picture are:
1) Where's the drama? What makes this an interesting subject enough to spend time looking at it? What's the catch or what's the hook that compels me to look at it? A barn or tractor or tree isn't enough. Is it the textures? The way the light hits it and makes it glow in an unusual way? Is it the juxtaposition between the subject and its surroundings? Etc. etc. etc.... Once you answer this question, I feel, then you'll know what you need to focus on and zero in on in your photographic treatment. If I saw the scene in your photo above and thought: "what a cool tree and barn!" Then I would ask myself: "why do I think this is cool?" If I answered, "I probably like the shapes of the objects on the expansive background," then I would know that I would have to do everything I could to communicate that in my photograph; perhaps I would include more landscape, or raise the horizon line to show lots of expanse. But if I said, "I like how the rugged tree contrasts with the bland outlines of the barn," then my photo would be much different, and I would have a totally different point of view, composition, focus, depth of field, everything, so I could really contrast those textures and feelings.
2) Does the photo tell or suggest a story? Kind of an off shoot of the first question. Why does the tree and barn "speak to me?" Do they indicate that something has happened or will happen? Your tractor photo in another thread may tell a story in this way, as it is old and perhaps has things to say about time and the past and how the past affects the future or how the present neglects the past, etc. These are stories, though often subtle.
Does that help? It may be kind of weird, but that's my own process in a theoretical nutshell.
I'm just interested: Why do you like the tree and barn? |
My wife and I were driving through the countryside looking for scenics to capture. The tree and barn were isolated on top of a hill across from a country store we stopped at. They appeared to me to be two against the world. Having weathered time and the elements. I thought they would make a cool photograph.
Bob
Message edited by author 2003-05-16 01:44:38.
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05/15/2003 09:52:24 PM · #6 |
First 2 photos are flat. Not bad, but no pop, no emotion.. just blah.
Third photo has the most potential b/c of the sky. I think sepia would have been a better choice to bring the drama out of the clouds and give it a better tonal range. And finally, perhaps an improvement in composition is in order.
This is my honest opinion but you don't have to like it.
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05/15/2003 09:55:13 PM · #7 |
Originally posted by sebadore:
First 2 photos are flat. Not bad, but no pop, no emotion.. just blah.
Third photo has the most potential b/c of the sky. I think sepia would have been a better choice to bring the drama out of the clouds and give it a better tonal range. And finally, perhaps an improvement in composition is in order.
This is my honest opinion but you don't have to like it. |
Thanks for the feedback, Seb
Bob
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05/15/2003 09:55:31 PM · #8 |
So now: how can you show "isolation," "two against the world," and "weathering time and elements"?
Isolation: perhaps you cropped too much? More negative space may bring this out more? You already instinctively have quite a bit of negative space already.
Two against the world: Show some opposition somehow? -- longer shadows (come later in the day?), more contrast? The B/W definitely helps this concept as the tree's form is highlighted and communicates this better than the color version. Again, more negative space would increase the isolation and sense that there is lots of world out there.
Weathering time and elements: Hmmm. The tree looks old, but the barn doesn't look that weathered. Still, B/W works better here, too, though color might have if the barn's colors reflected more age.
--Sorry if I'm beginning to sound like a "teacher!" Doh! But I'm learning personally myself by going through this process! And it's fun to boot! |
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05/15/2003 09:57:30 PM · #9 |
Originally posted by dsidwell:
So now: how can you show "isolation," "two against the world," and "weathering time and elements"?
Isolation: perhaps you cropped too much? More negative space may bring this out more? You already instinctively have quite a bit of negative space already.
Two against the world: Show some opposition somehow? -- longer shadows (come later in the day?), more contrast? The B/W definitely helps this concept as the tree's form is highlighted and communicates this better than the color version. Again, more negative space would increase the isolation and sense that there is lots of world out there.
Weathering time and elements: Hmmm. The tree looks old, but the barn doesn't look that weathered. Still, B/W works better here, too, though color might have if the barn's colors reflected more age.
--Sorry if I'm beginning to sound like a "teacher!" Doh! But I'm learning personally myself by going through this process! And it's fun to boot! |
No problem David. This is how we both learn :o).
Bob
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05/16/2003 12:42:21 AM · #10 |
An instructibe and interesting thread.
I agree with everything David's said - I go through the same process in evaluating whether a scene will make a good shot, although I hadn't broken the process down or thought about it too much.
I find I'm often tempted to shoot a scene but reject it because I decide it isn't compelling enough. I think developing this selectivity is an important skill. There was an Ansel Adams quote I saw on somebodys sig here the other day which sums it up. I think it went: "There's nothing worse than a sharp photograph of a fuzzy idea."
Makes you think.
Oh, I forgot - I like the first (colour) picture best. I think if you wanted to convey isolation, you needed to give the subjects a lot more space. I don't find either of the B&W shots particularly compelling, I'm afraid.
Message edited by author 2003-05-16 04:44:15.
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05/16/2003 06:28:55 AM · #11 |
Originally posted by dsidwell:
So now: how can you show "isolation," "two against the world," and "weathering time and elements"? ...
--Sorry if I'm beginning to sound like a "teacher!" Doh! But I'm learning personally myself by going through this process! And it's fun to boot! |
David, thanks for your incredibly instructve post! I had not really considered breaking a shot down the way you presented, and trying to emphasize what stirs you within a shot... I have found a 'knack' for creating shots that (quite luckily) turn out okay, and have always relied on that luck to create a shot that 'looks good' once in a while. Obviously, I can sometimes get REALLY lucky :-) and capture a tiny bit of emotion in the process, but not consistently.
I plan to apply your process this weekend while I'm out shooting a bit. |
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