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Author Topic: Serenade  (Read 6259 times)

drmike

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Re: Serenade
« Reply #20 on: June 07, 2016, 01:24:25 pm »

Some people, the competitive kind in particular, tend to see photography as a (contact) sport. Yes, there is always some level of difficulty involved in scoring (or not), but in photography it doesn't really count. Had it been figure skating, you might have scored some extra points, Russ, for technical difficulty. Photography is more like basketball: only those balls that get through the hoop count. Not near misses, nor elaborate ballet-like moves involved in throwing.

That's a nice way of putting it.

Mike
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RSL

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Re: Serenade
« Reply #21 on: June 07, 2016, 03:09:33 pm »

Thanks, Slobodan. But as I admitted, it's not one of my better works.

Almost sounds as if you think I ought to go back and re-shoot it. St. Augustine isn't far away, so I probably could go over there, but to round up these two kids and get them to re-enact the scene might be difficult since I haven't the foggiest idea who they were or where they came from. But I understand where you're coming from. You can make sure architectural photography is correct because, as is the case with landscape, you can go back and re-shoot if you screwed it up.

I screwed this one up. Ahhh. . . well. . . crap!
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Slobodan Blagojevic

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Re: Serenade
« Reply #22 on: June 07, 2016, 03:25:10 pm »

... Almost sounds as if you think I ought to go back and re-shoot it....

No, Russ, you really can't reshoot many things, landscapes included. As Heraclitus would say: "You could not step twice into the same river."

RSL

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Re: Serenade
« Reply #23 on: June 07, 2016, 04:18:59 pm »

Wish I were younger and had time to wait it out for the right conditions. I'd go back and duplicate one of Ansel's Half Dome shots. Yeah, nature changes, but not that much and not that fast. Might take a bit of PP work, but it could be done. You can't do that with street. Moon Over Hernandez might be a bit more difficult.
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Slobodan Blagojevic

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Re: Serenade
« Reply #24 on: June 07, 2016, 04:35:03 pm »

... I'd go back and duplicate one of Ansel's Half Dome shots...

Duplicating is easy. Doing it first is what it is all about.

Rob C

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Re: Serenade
« Reply #25 on: June 07, 2016, 04:37:30 pm »

No, Russ, you really can't reshoot many things, landscapes included. As Heraclitus would say: "You could not step twice into the same river."


Not quite right, Slobodan: landscape is one that you can reshoot. Why? Because it doesn't really have a face or features that humanly connect with people in the unavoidably intimate way that shots of people inevitably do; there's not a shot of a woman that one doesn't wonder, positively or negatively, how she' d have been to be up close and personal with... but, with a landscape, nobody really gives a shit: a second before or after and nothing is visibly different. It's sunny or there's snow; so what? That's the ugly truth of the matter, and why digital has spawned so many pictorial horrors: it costs nothing to shoot, you can bastardize it as much as you want, turn blue into green, black into white and then claim that's exactly what you saw in your mind's eye when you pressed the tit. It's a charlatan's paradise! And there is nothing real with which to compare the end product, for product is what it eventually turns out to be.

Street, portrait, fashion, porn, anything to do with people you have a reference, a personal understanding of right and wrong, and even of beauty though that's subjective. But you can still see the truth. Landscape has no truth: it just is.

But, pick up a paint brush, mix some colours, and you have a different language, a different world. Photography can't do that neat trick of turning nothing into an attractive alternative. That's why nobody questions whether painting is art, but constantly doubts whether photography ever can be.

" "You could not step twice into the same river."

Indeed, but would you be able to spot the difference in the water? That's key.

Rob C

RSL

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Re: Serenade
« Reply #26 on: June 07, 2016, 04:50:58 pm »

Duplicating is easy. Doing it first is what it is all about.

Right. Do you know who first shot Half Dome? Neither do I. Neither does anyone else. Besides, that's not what we're talking about. We're talking about whether or not it's possible to re-shoot landscape. I maintain it is, though it might take some time out there in the blizzard. Landscape simply isn't transient, except in a very few special cases -- like a flood for instance, or a volcanic eruption. Actually, it IS transient, but in most cases to see it trans you have to live a lot longer than humans live.

Oh, and I mentioned probably having to do some PP on Half Dome. Have any idea how much PP St. Ansel did? If he was doing his usual thing it was a hell of a lot more than most of us do.

Rob's got his finger on the situation.
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drmike

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Re: Serenade
« Reply #27 on: June 07, 2016, 05:31:41 pm »

I am really surprised that two committed and experienced photographers are dismissing landscape in this case in terms of 'if you screw up you can just go back and reshoot'. I'm stunned to see a comment along the lines of no-one gives a shit about landscape. A second or two makes no difference. Yes it does. It's an area where it's all about the light and that is never the same twice.

I took a shot in my garden of some weeds growing in some paving slabs. The light was just right. That photograph wasn't there a minute before or after. Because of the time of year that light will almost certainly never fall on the weeds in the same way again and of course the weeds change as they grow or die. You cannot reshoot - and I did screw up. Scale it up and you have landscape.

Architecture - once again surely the light is key and I have missed shots by being too slow changing lenses.

I don't accept any photograph of any person as any form of truth. We will all have our own interpretation of what we see when we look at a person. My wife and I can look at the same photograph and draw radically different conclusions. We did this as family once as I found an amazing photograph of some guys in a Siberian hut. We each of us took something different from the image, we each created our own back story. This is in part I think what Russ refers to as ambiguity.

Regarding that quote about stepping into the same river twice - sure you may not be able to see the difference, but it is different, you know it's different and what's more that river doesn't give a shit if you have the keenness of observation to see that difference or not. And of course it has nothing to do with rivers.

Finally, and I despair of this, I really do not look at an image of many women and think what it would be like to up close and personal and I'm pretty sure I'm not alone like this. I have no doubt of my masculinity, I meet women I do wonder about but I don't usually fantasise about women in photographs. Maybe I'm odd but I don't think so.

I really must learn to let this just wash past me but I'm just stunned at the comments about landscape, just simply stunned and uncomfortable so I shall probably bow out now to the relief of one and all I expect :)
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BobDavid

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Re: Serenade
« Reply #28 on: June 07, 2016, 06:28:59 pm »

Quick and dirty crops. MS paint is a clunky program, especially on a MS Surface.
« Last Edit: June 07, 2016, 06:43:21 pm by BobDavid »
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degrub

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Re: Serenade
« Reply #29 on: June 07, 2016, 06:34:58 pm »

and i thought the real story was in the feet !

Frank.
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RSL

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Re: Serenade
« Reply #30 on: June 07, 2016, 08:20:00 pm »

Yeah, those are the crops I looked at, Bob. The first one is the best because it at least hints at the hat over there for contributions from passers-by. But you can't really tell it's a hat. The other two concentrate the picture on the two kids without any context, and that's okay but it's a different picture. And you're right Frank. That's a pretty cute pair of feet. In any case, when I posted this picture I had no idea it would start a war. Whew!!!
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BobDavid

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Re: Serenade
« Reply #31 on: June 07, 2016, 08:32:12 pm »

Yeah, those are the crops I looked at, Bob. The first one is the best because it at least hints at the hat over there for contributions from passers-by. But you can't really tell it's a hat. The other two concentrate the picture on the two kids without any context, and that's okay but it's a different picture. And you're right Frank. That's a pretty cute pair of feet. In any case, when I posted this picture I had no idea it would start a war. Whew!!!

I agree that the crops change the narrative. I like the square crop, the second one. It is an intimate scene and you, the photographer, took the picture rather spontaneously. ... For me, the picture evokes a feeling of yearning. I wish I were young again. Back in the day when 6 X 6 was a ubiquitous format, 1:1 was more in vogue.
« Last Edit: June 07, 2016, 08:35:20 pm by BobDavid »
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Rob C

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Re: Serenade
« Reply #32 on: June 08, 2016, 06:00:47 am »

I am really surprised that two committed and experienced photographers are dismissing landscape in this case in terms of 'if you screw up you can just go back and reshoot'. I'm stunned to see a comment along the lines of no-one gives a shit about landscape. A second or two makes no difference. Yes it does. It's an area where it's all about the light and that is never the same twice.

I took a shot in my garden of some weeds growing in some paving slabs. The light was just right. That photograph wasn't there a minute before or after. Because of the time of year that light will almost certainly never fall on the weeds in the same way again and of course the weeds change as they grow or die. You cannot reshoot - and I did screw up. Scale it up and you have landscape.

Architecture - once again surely the light is key and I have missed shots by being too slow changing lenses.

I don't accept any photograph of any person as any form of truth. We will all have our own interpretation of what we see when we look at a person. My wife and I can look at the same photograph and draw radically different conclusions. We did this as family once as I found an amazing photograph of some guys in a Siberian hut. We each of us took something different from the image, we each created our own back story. This is in part I think what Russ refers to as ambiguity.

Regarding that quote about stepping into the same river twice - sure you may not be able to see the difference, but it is different, you know it's different and what's more that river doesn't give a shit if you have the keenness of observation to see that difference or not. And of course it has nothing to do with rivers.

Finally, and I despair of this, I really do not look at an image of many women and think what it would be like to up close and personal and I'm pretty sure I'm not alone like this. I have no doubt of my masculinity, I meet women I do wonder about but I don't usually fantasise about women in photographs. Maybe I'm odd but I don't think so.

I really must learn to let this just wash past me but I'm just stunned at the comments about landscape, just simply stunned and uncomfortable so I shall probably bow out now to the relief of one and all I expect :)

1.  I am really surprised that two committed and experienced photographers are dismissing landscape in this case in terms of 'if you screw up you can just go back and reshoot'. I'm stunned to see a comment along the lines of no-one gives a shit about landscape. A second or two makes no difference. Yes it does. It's an area where it's all about the light and that is never the same twice.

2.  I took a shot in my garden of some weeds growing in some paving slabs. The light was just right. That photograph wasn't there a minute before or after. Because of the time of year that light will almost certainly never fall on the weeds in the same way again and of course the weeds change as they grow or die. You cannot reshoot - and I did screw up. Scale it up and you have landscape.

3.  Architecture - once again surely the light is key and I have missed shots by being too slow changing lenses.

4.  I don't accept any photograph of any person as any form of truth. We will all have our own interpretation of what we see when we look at a person. My wife and I can look at the same photograph and draw radically different conclusions. We did this as family once as I found an amazing photograph of some guys in a Siberian hut. We each of us took something different from the image, we each created our own back story. This is in part I think what Russ refers to as ambiguity.

5.  Regarding that quote about stepping into the same river twice - sure you may not be able to see the difference, but it is different, you know it's different and what's more that river doesn't give a shit if you have the keenness of observation to see that difference or not. And of course it has nothing to do with rivers.

6.  Finally, and I despair of this, I really do not look at an image of many women and think what it would be like to up close and personal and I'm pretty sure I'm not alone like this. I have no doubt of my masculinity, I meet women I do wonder about but I don't usually fantasise about women in photographs. Maybe I'm odd but I don't think so.

7.  I really must learn to let this just wash past me but I'm just stunned at the comments about landscape, just simply stunned and uncomfortable so I shall probably bow out now to the relief of one and all I expect 

........................................................

1.  I live beside the sea. I can go to the same spot every day of summer and see exactly the same totally blue sky and placid water. The only changes are in the boats. If I were obsessive, I suppose I could stick on a pola and shoot at every little variation in its trip around itself and claim that the vital, critical difference is a miracle of nature and witness to my keen, observational prowess. Bullshit. It would be nothing but an affectation, a con, a simple self-deception at the most generous.

2.  Exactly. And who gives that proverbial shit about your weeds? Scaling up, as concept, is an error: that was the problem with Pentax's 6x7; it doesn't translate.

3.  The Empire State, terrorists aside, will still be there tomorrow. And one cloud is pretty much as valid as any other in the greater scheme of things. Contrails, I admit, could cause one to return at a later time, which kinda proves my point, if you think about it.

4.  That's not a point. Truth isn't about personal, viewer interpretation, which is ever present after the fact; it's about (truth) what the camera catches, despite the shooter, and being inanimate it has neither opinion nor bias. All that it can do is tell the truth of what exists before it.

5. Then you have no argument, as you have just shown.

6.  Maybe so, maybe not. I refer to the instant judgement as to whether, given the chance, you (one) would or would not. I believe it works in reverse, too, only far more quickly and efficiently and accurately. For the record: most of my observations have made me very grateful for the hand that I was dealt. I do not suggest that one thinks about it for more than that split second of recognition. Anything longer would indeed be worrying. I'm not suggesting that we all go around mentally sniffing one another's tails à la pooch. Dogs take their time; we are far more rapid, time-efficient and easily satisfied with our deductions.

7.  I hope that you do not bow out; a little bit of actual involvement, of being committed to this forum and adding some life to it beyond bland nods of approval to every bit of equally bland stuff that gets posted. That has to be better than just closing down the eyes and mind because one might not feel comfortable with them open.

Rob C
« Last Edit: June 08, 2016, 08:36:29 am by Rob C »
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muntanela

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Re: Serenade
« Reply #33 on: June 08, 2016, 08:20:03 am »

and i thought the real story was in the feet !

Frank.

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Rob C

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Re: Serenade
« Reply #34 on: June 08, 2016, 08:42:44 am »

I agree that the crops change the narrative. I like the square crop, the second one. It is an intimate scene and you, the photographer, took the picture rather spontaneously. ... For me, the picture evokes a feeling of yearning. I wish I were young again. Back in the day when 6 X 6 was a ubiquitous format, 1:1 was more in vogue.


There you go: torturing me with memories of abandoned 500s!

If anyone ever gets one, hang on to it as long as you can: in the future somebody will produce cheap, efficient 6x6 (FF!) digital backs and the kingdom will be back!

;-)

Rob

drmike

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Re: Serenade
« Reply #35 on: June 08, 2016, 03:19:38 pm »

Rob - I have read your reply and I think it's probably best we agree to differ otherwise we will just become more entrenched in our respective positions which isn't likely to be productive.

Your point 7 'bland nods of approval' wryly amuses me, so many times I bite my tongue. I have at least learnt that much. Almost no-one responds well to a well meant deconstruction of their photograph :) But then we are back to my shitty weeds. They matter to me and and bugger it I will just say Edward Weston's peppers seem to matter to a wide range of people as well. No, save me I'm getting sucked back in!

Mike
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Rob C

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Re: Serenade
« Reply #36 on: June 08, 2016, 03:55:53 pm »

Rob - I have read your reply and I think it's probably best we agree to differ otherwise we will just become more entrenched in our respective positions which isn't likely to be productive.

Your point 7 'bland nods of approval' wryly amuses me, so many times I bite my tongue. I have at least learnt that much. Almost no-one responds well to a well meant deconstruction of their photograph :) But then we are back to my shitty weeds. They matter to me and and bugger it I will just say Edward Weston's peppers seem to matter to a wide range of people as well. No, save me I'm getting sucked back in!

Mike


Well, at least I can help you there: there's a product called weedkiller that is far more likely to solve your problem for you than any camera.

Never mind Weston, I've done it too:



Technical details: kitchen table, flourescent ceiling light and any available north light that may have been peeping in to say hello. Probably 105mm (manual) micro Nikkor and either D200 or D700. (This was pre-glaucoma, so that explains a lot; probably adds value, even.) One pepper, red.

But I didn't feel llke making a career of it; however, his part of the States and mine of Spain...
And did it matter? Well, to the pepper, perhaps: it went into the paella.

Now, back to the blondes 'blands': there's no reason for anyone to feel depressed if they get unfavourable comments - they are under no obligation to post. Anyway, because of my general sense of kindness and consideration towards others, I started the Without Prejudice spot which offers freedom from second-guesses. Well semi-officially, that is. Anyone abusing the concept is instantly seen for the troublemaker he/she may be. Peer pressure soon takes care of that incursion.

;-)

Rob

drmike

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Re: Serenade
« Reply #37 on: June 08, 2016, 04:32:38 pm »

I think we have all had a go at a pepper. One of the better ones I have seen was by a club member who is quietly and sneakily good. She's pushing 70, can't even be 5 feet tall, a retired PE teacher (what) and hers was beautifully done. The lighting was superb, so soft and subtle. I asked her how she did it and she said she simply adjusted the curtains in her living room until it worked, took a one second exposure. She too promptly eat the pepper.

Myself I ambushed a fennel before it was used.



Mike
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RSL

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Re: Serenade
« Reply #38 on: June 08, 2016, 04:57:38 pm »

It's a strange genre. Sotheby's has a copy of Pepper #30 signed by Weston. The estimated sale price is $150,00 to $250,000. I always scratch my head when I see something like that. What's setting the price is Weston's signature on the print. I can get a good copy of the pepper for a hell of a lot less than that, and I suspect -- in fact I KNOW -- that I could make an equally good pepper shot myself if doing so weren't so boring. And I couldn't care less about Weston's signature.

That's the difference between a painting and a photograph. The painting is unique and contains the artist's brush strokes, which you can examine to see how he went about painting the thing. The photograph isn't unique. If I have the negative I can make hundreds of thousands of indistinguishable copies . If I have a print I can make a negative or digital file with a scanner or camera and print hundreds of thousands of identical copies. The print itself shows nothing about how it was made. They're all the same.

Arrghhhh!!! How can a photographic print of a pepper be worth $250,000?
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Chairman Bill

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Re: Serenade
« Reply #39 on: June 08, 2016, 05:08:30 pm »

A kind suggestion to Otto to choose his words carefully next time: ;)

It's also, "not that big a deal", rather than "not that big of a deal", but maybe I shouldn't expect too much of our cousins aross the pond :-)
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