Luminous Landscape Forum
The Art of Photography => User Critiques => Topic started by: Arlen on October 20, 2015, 11:52:36 pm
-
Setting: southwestern Oregon, at the very edge of daybreak.
Comments and suggestions welcome, as always.
(http://www.pbase.com/image/161636455/original.jpg)
-
Another spectacular B&W!
We really are being spoilt currently.
A winner!
Tony Jay
-
Yes indeed, and I love those highlights!
You can almost touch the dampness of early morning (not that I have to see very many of those anymore - thank goodness!).
Rob C
-
Unusual. You have taken a mundane object and photographed it in a meaningful way. At the end of the day it isn't what you shoot that matters but how you shoot it? You have succeeded with this very fine image.
-
Unusual. You have taken a mundane object and photographed it in a meaningful way. At the end of the day it isn't what you shoot that matters but how you shoot it? You have succeeded with this very fine image.
100% spot on...In all the arts, its elevating the ordinary to the profound.
Peter
-
It's a wonderful shot, Arlan. Bravo!!!
-
+1
-
Good one, Arlen. Really conveys the feel of the morning.
-
Arlen, at first glance, it's quite alluring with its mood and mystique created by soft PP and fog. But when I first saw it, it looked quite dark until I got closer. To me, the area where the axle meets the gear and wheel should be brighter and hopefully more distinct, as this is a focal point and dominant area where the eye comes to temporarily rest. If the highlights (even soft highlights) had been there it would work better. I think if you could subdue more the very bright highlight area to level of the axle, and at same time raise the brightness of the cog area already mentioned to same level of axle, it will improve the image. Another thing that I find disturbing is the two very dark outside wheels. I think it is because I see your image as trying to capture the soft glow and feel of morning light and fog. Yet the said wheels are extremely dark and draw my attention right away and look unnatural because other parts are visible and have nice soft glow. I'm not sure what can be done about that, as there may not be any detail or light those areas. But if their light levels can be raised to say the level of the middle wheel, it would be a better balance more in keeping with the overall mood of image.
But as I said, the composition and mood is very striking.
JR
-
Unusual. You have taken a mundane object and photographed it in a meaningful way. At the end of the day it isn't what you shoot that matters but how you shoot it? You have succeeded with this very fine image.
+1. Really fine.
-
Thanks to each of you; your feedback is very much appreciated.
John, I understand what you're saying. I've gone through a lot of the same thoughts myself. There are many ways this image can be processed, and I've tried quite a few of them since I first took this shot several years ago. And there are a number of versions that I like. In fact, in my latest revisit to this image, I produced a few new ones that I thought had merit. My wife actually favored a different one than I decided to post here. In the end I think it's a matter of taste, and it's possible that the next time I come back to this, mine will change. But for what it's worth (probably not much), here are some of the thoughts that went into producing this one.
Though the wheel irrigator is the object in focus, I don't actually consider it to be the main subject of the picture. It's purpose is to provide context that the location is a farm, and some strong graphic elements for the composition. The real subject is the interplay of the first rays of sun through the fog and onto the irrigator, which struck me as quite extraordinary. (If there had been no fog, I don't think I would have taken this photo.) So though the irrigator obviously plays a critical role, I didn't want it to be overly dominant. Lightening the cog shifts too much visual attention there, I decided. But in the end, the main factor is that I just liked this particular arrangement of light and dark tones; it resonated with me, and so carried the day.
-
Definitely a striking image, well composed.
My concern lies with the artificial "reverse-glow" around the tops of the wheels. I know dark objects don't glow, but that's how it appears to me, almost as if the Clarity slider was pushed too far to the negative.
-
Thanks, Terry. I'll check into it when I'm back at my main computer/monitor.
-
My concern lies with the artificial "reverse-glow" around the tops of the wheels. I know dark objects don't glow, but that's how it appears to me, almost as if the Clarity slider was pushed too far to the negative.
Agree...this is very distracting
-
Unusual. You have taken a mundane object and photographed it in a meaningful way. At the end of the day it isn't what you shoot that matters but how you shoot it? You have succeeded with this very fine image.
Agreed. Too often, we shoot the dramatic/dynamic and overlook the creativity we can add to the mundane through observant composition.
-
Definitely a striking image, well composed.
My concern lies with the artificial "reverse-glow" around the tops of the wheels. I know dark objects don't glow, but that's how it appears to me, almost as if the Clarity slider was pushed too far to the negative.
This is beautiful. And I have to say I love the "reverse glow" as Terry calls it. David Mullins, ASC did something similar with the photography he did for the film Big Sur. I loved it there, and I love it here.
DAF
-
Thanks again for the additional comments and suggestions. I finally got a little time to go back and review the processing to determine the genesis of the "reverse glow" effect that was pointed out. It does not result from negative Clarity, but was introduced by another step. I can get rid of it, but only at the expense of changing other aspects that I like. So since I'm not personally bothered by it, I think I'm going to leave it as is. I do appreciate your careful examination and critique, though; it was thought-provoking.
-
Thanks again for the additional comments and suggestions. I finally got a little time to go back and review the processing to determine the genesis of the "reverse glow" effect that was pointed out. It does not result from negative Clarity, but was introduced by another step. I can get rid of it, but only at the expense of changing other aspects that I like. So since I'm not personally bothered by it, I think I'm going to leave it as is. I do appreciate your careful examination and critique, though; it was thought-provoking.
IMHO, absolutely the way to go.
Tony Jay