geometry

[Bruce Cox]

Please critique my second at this.

Bruce

[RobbieV]

I'm draw to the bottom left corner, and it sort of ends for me there. I thing this image could benefit from some experimentation in lighting, but as is, does not really work for me.

[Jeremy Roussak]

Please critique my second at this.

Doesn't do anything for me, Bruce. What's your aim?

Jeremy

[Bruce Cox]

Doesn't do anything for me, Bruce. What's your aim?

Jeremy

I was aiming at the profusion of acorns at my curb and thought to fetch something from the house to offset them.  In preference to other brick-a-brac I came back with these three panels and shot a few dozen frames as the light moved across them.  This was the last frame.  The panels are aiming at the acorns and aiming the acorns at you, though or course they also get in the way and as such are a metaphor for other framing and findings.  The acorns are aiming at the panels because they are up front and center.  Now that I am finished my aim is different than when I started - I aim to make all the acorns, their caps, the holes, and the panels into an abstract bust as well.

Bruce   

[fike]

To be honest, this isn't really doing much for me. Someone mentions above needing more interesting light, and I was inclined to agree, but after spending a bit more time with the image I have to say your juxtaposition is perhaps an example of over-thinking a composition. 

[Bruce Cox]

your juxtaposition is perhaps an example of over-thinking a composition. 

I didn't mean to think too much and in fact shot rapidly, but I guess I am unable to unthink the panels.  Unfinished though they are, I have thought about them.  There will be other lights - what goes well with or against acorns?

Bruce

[amolitor]

There's some interesting juxtapositions here, for sure. The plastic thingies against the round metal.. thing. The holes in the plastic thingies against the acorns.

Nice juxtapositions don't make a composition, though. The result here is just a busy collection of stuff, there's nothing really to look at. I see nothing more important or less important in here.

This is a style of thing I see people whacking away at, and it's just a hell of a thing. I've never seen it work, but I agree that there ought be be something possible there, I just don't see how to get to it. Jackson Pollack made immense canvases that have many of the same properties - busy collection of stuff, nowhere for the eye to rest, no subject, no hierarchy of importance.

Like Pollack or not (I don't) his stuff is somehow a whole bunch easier to look at than this sort of thing. Possibly it's simply that we're not used to it in photographs and we are in paint? I don't know, and I wish I did.

[Michael West]

selectivity might be the way to go ?

[Bruce Cox]

[quote author=Michael West
selectivity might be the way to go ?




     I belatedly considered a crop in that area, though I was not thinking of a square.  That scale may be the way to go.  It's good for the details, but I fancy the "plastic thingies" whole.  When I am back home in a couple of days, I may deploy a small fleet of toothbushes.  

Bruce

[fike]

selectivity might be the way to go ?

This composition is definitely better, from an abstract point of view, but I don't really get any sense of a story here.

[Michael West]

This composition is definitely better, from an abstract point of view, but I don't really get any sense of a story here.

I get the sense that the image is supposed to be bodrerline post modern

[Bruce Cox]

The light hasn't been better, so I cropped the plastic want-a-be-s to two edges and reprocessed with gifted software , etc.  Hopefully, it's less "borderline" — if not so ambitious.

Bruce