Luminous Landscape Forum
The Art of Photography => User Critiques => Topic started by: Osprey on February 09, 2017, 10:45:26 pm
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(http://i.imgur.com/HPcjUjn.jpg)
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Wonderful. Some irony at play. The gentleman should have walked into the Cafe. Even the Lady is inviting him in from the cold.
JR
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Very nice.
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That's a great picture.
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Hé... :)
Did you notice that "caffe" is spelt in Italian on the side of the building, and in franglais on the vertical green sign?
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A fine shot. Bravo!
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Very nice.
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Hé... :)
Did you notice that "caffe" is spelt in Italian on the side of the building, and in franglais on the vertical green sign?
I hadn't. I'll guess the marque sign is older. Or was paid for by the letter....
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Excellent!
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Winning the moment Perfect!
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I stand by my earlier comment, but since this is a critique section, a nitpick: the right side of the image seems to be keystone-distorted more than the left. I think the image would be stronger with that corrected, as the dynamism of the slanted lines distracts from the overall feel and other, more important elements of the image.
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I stand by my earlier comment, but since this is a critique section, a nitpick: the right side of the image seems to be keystone-distorted more than the left. I think the image would be stronger with that corrected, as the dynamism of the slanted lines distracts from the overall feel and other, more important elements of the image.
I have to agree with both of Slobodan's comments.
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I have to agree with both of Slobodan's comments.
Yep, but still a great photograph
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Thanks for pointing that out. Sometimes I have problems perspective correcting, not sure exactly why. When I looked at the shot again I could tell the corrections I had put in weren't completely correct.
I think this is a lot closer:
(http://i.imgur.com/u7250R1.jpg)
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I like it very much.
P.S. Sadly, the Bertolli olive oil (and other italian brands) is now property of the spanish company Deoleo. Obviously, also much of its olive oil comes from Spain, which produces a greater amount of olive oil than Italy (and often exports olive oils of lower and less controlled quality). Deoleo last year was also fined by italian Antitrust authority because it sold virgin oil as extra virgin oil. It happened unintentionally, because of an insufficient quality control of their spanish olive oil supplies...
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Very nice. Reminds me of some of Saul Leiter's shot of wintery New York, it's even a similar colour palette.
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(http://i.imgur.com/HPcjUjn.jpg)
I really appreciate and enjoy this photo.
One thing I would try is to remove the car by cloning. It would be a challenge though not that difficult. Question is would it be worth the effort?
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Why?
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Why?
Just my sense of simplification and to a minor degree a bit of abstraction. Or to put it another way controlling the composition in a painterly way by omitting visual elements. Just my POV.
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This isn't painting. It's photography. There's a difference.
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This isn't painting. It's photography. There's a difference.
I didn't say it was painting. It's called print manipulation in the digital age. This isn't an argument so move on.
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HCB wasn't always right, but he was right more often than he was wrong. There are, for instance, situations where cropping makes sense, but the point he was making with his refusal to crop was that you frame on the camera. If there's a car in the frame and you're not happy with the result, you move on to a different frame. You don't say, "Well, in the spirit of 'print manipulation' I'll shoot and get rid of the car in post-processing."
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Apart from the conceptual debate about print manipulation, I quite like the car there. It adds to the contrast between modern and classic, monochromatic and colorful, that the image is full of.
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Apart from the conceptual debate about print manipulation, I quite like the car there. It adds to the contrast between modern and classic, monochromatic and colorful, that the image is full of.
+1
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+2, but that's an aside.
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I hate people trying to make rules about what must or must not be done. On the other hand, often rules are based on good advice... for example, that manipulated photos very often just look wrong: either something looks awry, or it's done so well that it looks too perfect (as per excessively made-up models).
My personal impression is that chance does wonders for most photographs: my little brain is not up to inventing all the subtle ingredients that go into a good street photo, but sometimes they arrive by chance (with maybe some help from my subconscious). Often they won't, but if I insist on removing all the unintended elements, it's almost sure that they won't.
That was what amused me most about the McCurry "scandal"... aside from the sloppiness (ie the truncated yellow post that gave the game away), I found I prefered the originals in most cases. The "improved" versions usually seemed to me to be dumbed down.
So yeah, keep the car :)
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HCB wasn't always right, but he was right more often than he was wrong. There are, for instance, situations where cropping makes sense, but the point he was making with his refusal to crop was that you frame on the camera. If there's a car in the frame and you're not happy with the result, you move on to a different frame. You don't say, "Well, in the spirit of 'print manipulation' I'll shoot and get rid of the car in post-processing."
You know there is a contemporary photographer that does regard his work like painting, Gregory Crewdson. So there are no absolutes in art.
http://tinyurl.com/jqdxmgn
http://tinyurl.com/jgbeskb
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Yep. There are all sorts of weirdos out there. On the other hand, I really like Crewdson's concoctions. He's after a particular kind of sensation: usually a lonely one, and he often succeeds.
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Thanks for the link to Crewdson. Very interesting work. Reminds me of film sets. I think you really have to be dedicated and confident that all this kind of work will lead to some of kind of success.
JR
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A very nice picture, but it raises a question for me: why do people look at this genre and also attemtp to insert "technical" corrections that are of no importance whatsoever? That's not what this stuff is about, could be or should be about. This is all about mood, colour and atmosphere and, yes, ambiguity, at the very least via the interplay of languages.
I couldn't give a damn if verticals are off a little bit, and as for removing the car, it's part of the mood, for heaven's sake; goes perfectly with the snow and sense of alienation to the norm that snow always brings. Unless you're an Eskimo.
Rob C
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Thanks for the link to Crewdson. Very interesting work. Reminds me of film sets. I think you really have to be dedicated and confident that all this kind of work will lead to some of kind of success.
JR
His shots do mimic film (movie) sets simply because of his need to create and control an entire mood. In some ways he reminds me of Hitchcock. Large sums of money are expended making each shot so everything obviously has to be scripted. Taking his entire body of work in this genre some of the motefs become repetitive and they vaguely remind me some of Hoppers work such as 'Office at Night', 'Woman in the Sun', 'Morning Sun' and of course 'Nighthawks' as well as others.
Looking at his prints up close and personal are a treat, the detail and sense of presence is unexpected upon first viewing . I've never enlarged any of my 8x10 work so it is tempting to do so.