Post by: Rob C on August 05, 2018, 08:21:25 am
Quite a tough one to call, but for what it's worth, here's mine, strictly within the bounds of the calendar genre; different genres, different pictures.
Why do I pick this one out, then?
First of all, it represents the fulfilling of a dream: shooting a calendar to my own design in the Bahamas. The early Pirelli cals with Francis Giacobetti were shot in the Bahamas and in Jamaica; I felt no desire for Jamaica, but I certainly did for the Bahamas. So, getting there was a big deal for me.
I came to calendars from fashion, and had the fashion industry in 70s Scotland been more robust, I would probably still have been there today. As it turned out, things were not great, most of the shrinking work going south to London, leaving me like an iceberg looking for a ship. Stock still made a lot of sense, so off we went to settle in the Mediterranean.
Anyway, I never liked porn and thought the people doing it were not only ruining the lives of men and women in the industry, but also of those exposed to such crap. Inevitably, the baggage that came with me to calendars precluded my getting my fingers dirty. On top of that, the very love of women/femininity that made me get into fashion was going to be carried forward into anything else I did with models.
The shot I post here, for me, marries femininity, fashion, travel and what the French call charme. It reveals my lack of love for complicated lighting.
It also shows the appeal of Kodachrome.
There you are then: the naked photographer.
Post by: KLaban on August 05, 2018, 08:34:33 am
Post by: Rob C on August 05, 2018, 08:46:08 am
Rob, wonderful! Model, location and light are just perfect and perfectly captured. Very much of the period and yet somehow timeless. Great choice.
Thank you!
:-)
Post by: KLaban on August 05, 2018, 09:04:34 am
As mentioned in the other thread I find repeated viewing a harsh critic. I tend to home in on shortcomings rather than strengths; galling but perhaps ultimately beneficial?
Strange, but my own choice is in many ways atypical of much of my other work and is chosen because for me at least it stands repeated viewing better than most if not all others. If I have any concern it is that it's a recent shot. Will it stand the test of time, my test of time, well, who knows?
A grab shot, but one that conversely required patience and stealth so that the subject remained unaware of my presence and intentions.
(http://www.keithlaban.co.uk/Daydream.jpg)
Post by: KLaban on August 05, 2018, 09:09:47 am
Post by: RSL on August 05, 2018, 09:54:56 am
I look at my collection of street shots and find that I'm in love with a lot of the pictures there. Generally speaking the B&W grabs me more than the color. But this one keeps jumping out at me.
This kid never knew I was there. The picture's not cropped. I was able to walk fairly close without disturbing her (or possibly him). I have no idea what she was doing. It was pretty obvious that somebody else had drawn the original circles. It requires a compass to draw them that perfectly. But this kid was filling in what dreams in her head were telling her. I wish I could have tapped her thoughts.
Post by: Rob C on August 05, 2018, 10:26:49 am
An afterthought, but would this thread be better served in the User Critiques section?
Yes, I thought of that too, but too late!
Maybe the management can switch for us?
The only problem I have with using the Critique thread is that it may lead to the very things that the Without P. thread was designed to avoid... That could clash badly with this new concept and possibly hinder people from posting.
That said, my using the CC won't necessarily avoid that happening either!
Post by: RSL on August 05, 2018, 10:30:34 am
Post by: Rob C on August 05, 2018, 10:33:23 am
The idea for the thread - discussed with Rob - was to create an open thread inviting contributors to share what they consider to be their favourite shot and also share the thinking behind their choice. The obvious problem is it would be limited to one shot per contributor and it's not beyond imagination that many would fear being called out on their choice. Perhaps it'll work, perhaps not, we'll see.
As mentioned in the other thread I find repeated viewing a harsh critic. I tend to home in on shortcomings rather than strengths; galling but perhaps ultimately beneficial?
Strange, but my own choice is in many ways is atypical of much of my other work and is chosen because for me at least it stands repeated viewing better than most if not all others. If I have any concern it is that it's a recent shot. Will it stand the test of time, my test of time, well, who knows?
A grab shot, but one that conversely required patience and stealth so that the subject remained unaware of my presence and intentions.
(http://www.keithlaban.co.uk/Daydream.jpg)
Grab shot or otherwise, it's one in a zillion. I'm sure that if you were still interested, it could turn into the ticket for a lot more trips! Retired does not have to mean dead, and anyway, we don't really retire, we go into holding pattern.
;-)
Post by: Slobodan Blagojevic on August 05, 2018, 10:42:54 am
... But this one keeps jumping out at me...
When I think of Russ and street photography, that is the one that comes to mind.
Post by: Rob C on August 05, 2018, 10:47:14 am
Looking at what you two guys have posted, I'm glad this isn't a competition. Rob captured the real essence of femininity and Keith captured a mood I can't even describe in words.
I look at my collection of street shots and find that I'm in love with a lot of the pictures there. Generally speaking the B&W grabs me more than the color. But this one keeps jumping out at me.
This kid never knew I was there. The picture's not cropped. I was able to walk fairly close without disturbing her (or possibly him). I have no idea what she was doing. It was pretty obvious that somebody else had drawn the original circles. It requires a compass to draw them that perfectly. But this kid was filling in what dreams in her head were telling her. I wish I could have tapped her thoughts.
A delightful shot of absolute, undiverted self-absorption. Or of an infinite inner sadness.
Gender. As you mentioned it, I came to realise that therein lay yet another layer of ambiguity.
The hair makes me think male; the feet look kinda tough too, and the shorts too long for a girl's pride. But, nevertheless, despite the possible evidence to the opposite, I still get the general impression of female.
That's what I think makes street work.
Post by: KLaban on August 05, 2018, 10:54:46 am
Russ I believe the possible androgyny in your shot only adds to the sense of mystery*. In this case perhaps it's better not knowing those thoughts.
Rob, as you well know a creative never retires. In my case it allows me to do what I want to do, when I want to do it and on my terms.
*I see Rob beat me to it.
Post by: Alan Goldhammer on August 05, 2018, 11:37:48 am
Post by: Rob C on August 05, 2018, 12:31:12 pm
This street shot is of a static set of elements, locks on the Pont Neuf bridge in Paris. It was taken five days before all the locks were removed as their total weight was compromising the structure of the bridge. Several years before we were on holiday in Berlin and staying on the Wilhelmstrasse right near the River Spee. I was out walking around and as I crossed the bridge I saw a set of small locks on that bridge. It puzzled me as I thought that they might be to secure bicycles but why would the locks be left behind? It was not until we returned home that I read a story in the Washington Post describing the practice of young lovers placing padlocks on bridges as a seal of commitment. The practice stems from a book by the Italian author Federico Moccia, "Ho Voglia di Te" (I Want You) and it has moved beyond bridges in Italy to other European cities. In all of our Euro travels we never saw as many locks as those on Parisian bridges.
Me2 stretches way back!
Fortunately, local bridges here have sides made from stone or concrete, or have no sides at all; not much scope for locks, then.
https://www.youtube.com/watch?v=mFeftQkqg-M
Prefer meeting her on some bridge - at least when we were both young(er) - instead of a padlock.
;-)
Post by: 32BT on August 05, 2018, 01:09:45 pm
Your very best shots with a bit of background.
We should be very clear about comments because some here believe that praise is a form of critique as well. In that case "no critique" also implies "no praise".
I can see how Rob's image is quintessential in a lot of ways (also considering some of his other rants all over the forum).
I would like to know a bit more background from Keith about his chosen image. He merely describes his assessment method, which apparently didn't even apply for this image.
Similarly Alan's explanation doesn't tell me why he believes his image to be his best of the best?
Please consider the above mere curiosity, certainly not critique.
Post by: KLaban on August 05, 2018, 01:49:32 pm
Quintessential shots...
Your very best shots with a bit of background.
We should be very clear about comments because some here believe that praise is a form of critique as well. In that case "no critique" also implies "no praise".
I can see how Rob's image is quintessential in a lot of ways (also considering some of his other rants all over the forum).
I would like to know a bit more background from Keith about his chosen image. He merely describes his assessment method, which apparently didn't even apply for this image.
Similarly Alan's explanation doesn't tell me why he believes his image to be his best of the best?
Please consider the above mere curiosity, certainly not critique.
I've made no comments or stipulations about comments. As far as I'm concerned I'm happy for folk to react to the images as they please. Also, as far as I'm concerned, if anyone wants to update their favourite over the course of time then I'd find that acceptable. Obviously I can't speak for Rob.
My assessment method very much applies to the image I posted, i.e. the test of repeated viewing.
Background to the image...a grab shot in a museum in Jodhpur, India, with a constant throughput of punters. As soon as I saw the scene I just knew I had to capture it: one just knows. How, well if I knew that I'd do it all the time ;-) I spent 20 minutes in the background waiting for the subject to get off her phone, for the hoards to clear, to stop taking selfies and for the subject to settle into a pose that I felt was appropriate.
Why do I think it's my best of the best, well, simply put I feel I couldn't have improved on the scene even if I had created it from scratch as a set, the subject, the geometry, the tone and colour, all came together, and also because unlike virtually every other shot I've ever made, and even with hindsight, I wouldn't have shot it in any other way.
Post by: Jeremy Roussak on August 05, 2018, 01:50:11 pm
An afterthought, but would this thread be better served in the User Critiques section?
Yes, I thought of that too, but too late!
Maybe the management can switch for us?
It's not too late: I can move it if you like. It's your thread by origination, so your call. Ask, and I shall obey.*
Jeremy
* But don't imagine I'll make a habit of that ;)
Post by: KLaban on August 05, 2018, 02:07:12 pm
Yes, I thought of that too, but too late!
Maybe the management can switch for us?
It's not too late: I can move it if you like. It's your thread by origination, so your call. Ask, and I shall obey.*
Jeremy
* But don't imagine I'll make a habit of that ;)
Jeremy, thanks. I'm happy to keep it here but as the thread is in Rob's name I'll leave the final say to him.
Post by: 32BT on August 05, 2018, 02:21:58 pm
Why do I think it's my best of the best, well, simply put I feel I couldn't have improved on the scene even if I had created it from scratch as a set, the subject, the geometry, the tone and colour, all came together, and also because unlike virtually every other shot I've ever made, and even with hindsight, I wouldn't have shot it in any other way.
Okay, thanks for elaborating. As i already mentioned in another thread this image transcends itself in a way that i'm still trying to comprehend or explicate (at least to myself). It's an image that i have thought about several times since seeing it, so apparently it is able to make a lasting impression. (Neither praise nor critique: an attempt at matter-of-fact).
Post by: KLaban on August 05, 2018, 02:33:22 pm
Okay, thanks for elaborating. As i already mentioned in another thread this image transcends itself in a way that i'm still trying to comprehend or explicate (at least to myself). It's an image that i have thought about several times since seeing it, so apparently it is able to make a lasting impression. (Neither praise nor critique: an attempt at matter-of-fact).
As I've already hinted, you're not alone.
;-)
Post by: Rob C on August 05, 2018, 03:18:51 pm
Yes, I thought of that too, but too late!
Maybe the management can switch for us?
It's not too late: I can move it if you like. It's your thread by origination, so your call. Ask, and I shall obey.*
Jeremy
* But don't imagine I'll make a habit of that ;)
Hi Jeremy,
It may be in my name, but the idea really came from Keith, and so if he is happy with the status quo, as I believe he is, then I'm cool with that too. We all find our own way around LuLa, so no real problem.
Thanks for your willingness to help!
Rob
Post by: Ivo_B on August 05, 2018, 03:28:26 pm
They have a very close band and I puzzled long how I would portray both.
I realize this portrait could be subject of certain comment or interpretation, We don't care, this image is sharply seeking the edge how to visualize bloodline love.
We (and I mean myself and my sons) are very happy with the portrait, it tells exactly what we had in mind when making it.
The photo is analogue made on Rollei Retro 80 film with the Pentax 67II.
Is this my best? I don't know, but it thicks a lot of boxes in what I like to see in my portrait work.
(https://farm8.staticflickr.com/7350/9638964670_d6ece24d43_b.jpg) (https://flic.kr/p/fFLdo3)Andreas and Sebastiaan, Two Brothers (https://flic.kr/p/fFLdo3) by Ivo Bogaerts (https://www.flickr.com/photos/ivophoto/), on Flickr
Post by: Ivophoto on August 05, 2018, 03:34:55 pm
Post by: KLaban on August 05, 2018, 03:39:00 pm
Kudos.
Post by: Ivophoto on August 05, 2018, 03:43:34 pm
Ivo, what a stunning portrait. Wonderful how the taller son's chin, neck and upper torso frames the shorter son's face.
Kudos.
Tx Keith.
Post by: Ivophoto on August 05, 2018, 03:51:17 pm
The idea for the thread - discussed with Rob - was to create an open thread inviting contributors to share what they consider to be their favourite shot and also share the thinking behind their choice. The obvious problem is it would be limited to one shot per contributor and it's not beyond imagination that many would fear being called out on their choice. Perhaps it'll work, perhaps not, we'll see.I like the tonality and the careful framing. Fragile image! Like it.
As mentioned in the other thread I find repeated viewing a harsh critic. I tend to home in on shortcomings rather than strengths; galling but perhaps ultimately beneficial?
Strange, but my own choice is in many ways atypical of much of my other work and is chosen because for me at least it stands repeated viewing better than most if not all others. If I have any concern it is that it's a recent shot. Will it stand the test of time, my test of time, well, who knows?
A grab shot, but one that conversely required patience and stealth so that the subject remained unaware of my presence and intentions.
(http://www.keithlaban.co.uk/Daydream.jpg)
Post by: Ivophoto on August 05, 2018, 03:52:07 pm
"The idea for the thread - discussed with Rob - was to create an open thread inviting contributors to share what they consider to be their favourite shot and also share the thinking behind their choice. The obvious problem is it would be limited to one shot per contributor and it's not beyond imagination that many would fear being called out on their choice. Perhaps it'll work, perhaps not, we'll see." ... Keith Laban.
Quite a tough one to call, but for what it's worth, here's mine, strictly within the bounds of the calendar genre; different genres, different pictures.
Why do I pick this one out, then?
First of all, it represents the fulfilling of a dream: shooting a calendar to my own design in the Bahamas. The early Pirelli cals with Francis Giacobetti were shot in the Bahamas and in Jamaica; I felt no desire for Jamaica, but I certainly did for the Bahamas. So, getting there was a big deal for me.
I came to calendars from fashion, and had the fashion industry in 70s Scotland been more robust, I would probably still have been there today. As it turned out, things were not great, most of the shrinking work going south to London, leaving me like an iceberg looking for a ship. Stock still made a lot of sense, so off we went to settle in the Mediterranean.
Anyway, I never liked porn and thought the people doing it were not only ruining the lives of men and women in the industry, but also of those exposed to such crap. Inevitably, the baggage that came with me to calendars precluded my getting my fingers dirty. On top of that, the very love of women/femininity that made me get into fashion was going to be carried forward into anything else I did with models.
The shot I post here, for me, marries femininity, fashion, travel and what the French call charme. It reveals my lack of love for complicated lighting.
It also shows the appeal of Kodachrome.
There you are then: the naked photographer.
Everything is right in this shot. Pro work, no doubt.
Post by: KLaban on August 05, 2018, 03:55:52 pm
...I would like to know a bit more background from Keith about his chosen image...
opgr, as an addition to my previous reply, I'll add that post capture I view the image in differing ways on differing occasions. Sometimes I view the image as depicting a rather pretty and serene scene and at other times I see it as surreal and rather menacing. Why, well God only knows.
Post by: Rob C on August 05, 2018, 05:28:23 pm
Rob
Post by: Rob C on August 05, 2018, 05:30:17 pm
Everything is right in this shot. Pro work, no doubt.
Thanks, yes; all my model shots were pro. Miss them...
Post by: Rob C on August 05, 2018, 05:32:12 pm
Quintessential shots...
Your very best shots with a bit of background.
We should be very clear about comments because some here believe that praise is a form of critique as well. In that case "no critique" also implies "no praise".
I can see how Rob's image is quintessential in a lot of ways (also considering some of his other rants all over the forum).
I would like to know a bit more background from Keith about his chosen image. He merely describes his assessment method, which apparently didn't even apply for this image.
Similarly Alan's explanation doesn't tell me why he believes his image to be his best of the best?
Please consider the above mere curiosity, certainly not critique.
Rants? Moi? Jamais!
;-)
Post by: Ivophoto on August 06, 2018, 12:48:28 am
Cool double-portrait, Ivo; which lens did you use with the Pentax?
Rob
Tx Rob, if I remember well, it was the 165 with leaf shutter.
Post by: 32BT on August 06, 2018, 02:29:25 am
The photo is analogue made on Rollei Retro 80 film with the Pentax 67II.
Is this my best? I don't know, but it thicks a lot of boxes in what I like to see in my portrait work.
What's with the banding? Scanner issues?
Post by: KLaban on August 06, 2018, 05:05:34 am
I like the tonality and the careful framing. Fragile image! Like it.
Thanks, Ivo, much appreciated.
Post by: Ivophoto on August 06, 2018, 05:37:21 am
What's with the banding? Scanner issues?
Good question. I don’t know. I didn’t notice until now. It is not in the neg. Possible the banding is in the scan. Frankly, I don’t remember. It’s possible I printed the scan and reproduced the print, and the banding comes from my crappy Epson 2100. I’ll check it out. Tx to make me aware.
Post by: Rob C on August 06, 2018, 07:55:16 am
Good question. I don’t know. I didn’t notice until now. It is not in the neg. Possible the banding is in the scan. Frankly, I don’t remember. It’s possible I printed the scan and reproduced the print, and the banding comes from my crappy Epson 2100. I’ll check it out. Tx to make me aware.
If you lived in Spain, you wouldn't notice and, at best, assume it was just normal plastering of the walls... the "traditional" look, then.
You should see the sides of my building in a strong cross-light!
Alternatively, if in an anti-Pentax mood, consider it uneven shutter travel that inevitably shows up more on flat, even-toned areas such as walls or paper rolls.
:-)
Post by: Ivophoto on August 06, 2018, 08:39:27 am
If you lived in Spain, you wouldn't notice and, at best, assume it was just normal plastering of the walls... the "traditional" look, then.
You should see the sides of my building in a strong cross-light!
Alternatively, if in an anti-Pentax mood, consider it uneven shutter travel that inevitably shows up more on flat, even-toned areas such as walls or paper rolls.
:-)
The wall is the wall and this is shot with striking light. And the 165 is with leaf shutter. I don’t remember if I used the leaf
I think the banding is about the stripes on the arm of the tallest.
Let’s say that this is part of the mood. Hahaha
Post by: Rob C on August 06, 2018, 08:52:32 am
The wall is the wall and this is shot with striking light. And the 165 is with leaf shutter. I don’t remember if I used the leaf
I think the banding is about the stripes on the arm of the tallest.
Let’s say that this is part of the mood. Hahaha
I didn't even notice those! I slouch just that bit further away from the monitor than perfect viewing distance for my eyes; that probably also partly explains my many typos...
Anyway, better than wearing rosy tinteds! Too hot for any glasses this month, though a very cold G&T would be welcomed, if I was allowed it. I have had an unopened bottle of Gordon's here for years, but not any mixers; I don't even bother making ice anymore, because these self-defrosting coolerator units spirit it away so quickly... even by Bosch. The damned thing's taller than I am, and almost as empty.
;-(
Post by: fdisilvestro on August 06, 2018, 10:24:29 am
Ivo, That is a great double-portrait!
Rob, I remember that image, sublime!
Keith, lovely image. You really have a distinct style.
Here is my preferred image so far. It was taken at the 2016 Lorne Sculpture Biennale (Lorne is a coastal town in Victoria, Australia). I saw this sculpture on the rocks with the waves washing on a grey late afternoon and I thought a long exposure could work, remembering how I was fascinated with the work of John Blakemore a few years ago.
I cannot express very weel what I feel about it, but between take and post I was able to achieve the look I was going after.
P.D. this image was finalist in the Australian Photography Awards 2016 - landscape category
(https://www.frankdisilvestro.com.au/img/s/v-3/p3005195893-5.jpg)
Post by: KLaban on August 06, 2018, 10:31:49 am
...P.D. this image was finalist in the Australian Photography Awards 2016 - landscape category...
Frank, I'm not surprised, it is an utterly beautiful image! The juxtaposition of the subtle blue/grey background and the vibrant red sculpture is divine.
Post by: Rob C on August 06, 2018, 10:49:12 am
That blur around the red makes the magic that, had everything been crisp, you wouldn't have caught.
I wish I had that amount of forethought when I photograph. Very well shot, Francisco.
Rob
Post by: Ivophoto on August 06, 2018, 11:04:52 am
What ND brand do you use?
Post by: Richowens on August 06, 2018, 11:17:16 am
My favorite.
(https://photos.smugmug.com/photos/i-c5gHbDb/0/b408ecc5/XL/i-c5gHbDb-XL.jpg)
Post by: Rob C on August 06, 2018, 03:24:22 pm
My favorite.
(https://photos.smugmug.com/photos/i-c5gHbDb/0/b408ecc5/XL/i-c5gHbDb-XL.jpg)
I can see why.
:-)
Post by: fdisilvestro on August 06, 2018, 07:35:45 pm
Frank, I'm not surprised, it is an utterly beautiful image! The juxtaposition of the subtle blue/grey background and the vibrant red sculpture is divine.
Keith expressed it for me, as well.
That blur around the red makes the magic that, had everything been crisp, you wouldn't have caught.
I wish I had that amount of forethought when I photograph. Very well shot, Francisco.
Rob
Thanks so much for your comments!
Post by: fdisilvestro on August 06, 2018, 07:36:48 pm
Very nice long exposure shot! Agree with previous comments.
What ND brand do you use?
Thank you Ivo. I use a square Formatt Hitech Pro IRND, 6 Stops
Post by: Ivo_B on August 07, 2018, 12:59:01 am
Thank you Ivo. I use a square Formatt Hitech Pro IRND, 6 Stops
I use HiTech as well, theye are very color neutral, what not can be said for Lee. Tx for the info
Post by: Ivo_B on August 07, 2018, 12:59:35 am
Yep, me to.
I can see why.
:-)
Post by: James Clark on August 07, 2018, 02:20:27 pm
Post by: Slobodan Blagojevic on August 07, 2018, 02:44:41 pm
Post by: Rob C on August 07, 2018, 03:40:33 pm
Here's mine. It's one of my older images, but remains a favorite because I think it is still the one that captures my favorite aesthetic - subtract, then subtract more, and then even more, but somehow keep a strong focus and a sense of place that can still fill a wall. I've got multiple edits - a pano that won an Epson award, an artificially aged version that just touches the line of being inauthentic, and a number of harder and softer color treatments, but this is the most honest and most basic.
Lovely, delicate touch.
Rob
Post by: fdisilvestro on August 07, 2018, 03:42:50 pm
Lovely, delicate touch.
Ro
+1
Post by: Rob C on August 07, 2018, 04:16:22 pm
+1
I guess my own touch was so delicate too that I faded off the b in Rob!
Corrected, now, with a firmer hand.
;-)
Post by: MattBurt on August 07, 2018, 04:58:04 pm
I have trouble picking favorites, especially of my own work.
So here is one that has become a favorite lately. It's going to be in Outdoor Photographer this (I think) month as a finalist in their American Landscape contest.
We had a mostly snowless winter last year but I shot this as a storm was rolling in that would cover the ice with snow for the remainder of the season. The deep water from a big winter the previous year also contributes to making this unusual and difficult to reproduce. There definitely will not be enough water for this here when winter returns this year.
To illuminate the bubbles, I used a green gelled speedlight and manually shot it straight into the ice just out of the frame, once on each side during the 30s exposure. I tried to get one more after this and the wind moved the tripod so I quit and went home. I have more ideas to try if the opportunity presents its self again.
(https://farm5.staticflickr.com/4647/38520285805_88344baf39_c.jpg) (https://flic.kr/p/21FUwWH)
Post by: Two23 on August 07, 2018, 09:35:39 pm
Why I like this shot. I really love shooting at night. It's a challenge extremely few will attempt, especially on this scale. I scout locations during the day and have to pre-visualize how they would look done at night. I have to determine where to place the flash so they don't appear in the shot, give an even coverage, and will reliably fire. There are dozens of small details/connections and if any one of them fails the shot won't work. I love the challenge! I also love sitting out alone on a winter's night as it's very peaceful. In winter, the sound of the approaching train can be heard a long way. That only builds my anticipation! I generally mark a spot on the tracks with chalk or something so I don't screw up and pull the trigger in the wrong place. This railroad uses my shots for their annual calendars, as do a few other railroads. It's a niche for sure, but I very much enjoy it. I chose this particular shot because after I first viewed it on my home screen, I knew for certain I had finally reached the level of skill I'd been after for nearly five years. I felt a genuine sense of accomplishment in planning and pulling it off! 8)
Kent in SD
Post by: KLaban on August 08, 2018, 03:54:37 am
Keep 'em coming, guys.
Post by: Rob C on August 08, 2018, 04:30:41 am
Great shots all around!
I have trouble picking favorites, especially of my own work.
So here is one that has become a favorite lately. It's going to be in Outdoor Photographer this (I think) month as a finalist in their American Landscape contest.
We had a mostly snowless winter last year but I shot this as a storm was rolling in that would cover the ice with snow for the remainder of the season. The deep water from a big winter the previous year also contributes to making this unusual and difficult to reproduce. There definitely will not be enough water for this here when winter returns this year.
To illuminate the bubbles, I used a green gelled speedlight and manually shot it straight into the ice just out of the frame, once on each side during the 30s exposure. I tried to get one more after this and the wind moved the tripod so I quit and went home. I have more ideas to try if the opportunity presents its self again.
(https://farm5.staticflickr.com/4647/38520285805_88344baf39_c.jpg) (https://flic.kr/p/21FUwWH)
Incredible imagination!
Rob
Post by: Slobodan Blagojevic on August 08, 2018, 11:59:49 am
Background story:
When I first arrived for a sunset, literally busloads of tourists and quite a number of photographers with carbon-fiber tripods and red-line lenses were already there, occupying every vantage point imaginable. The sky, unfortunately, did not look particularly promising (to me, at least - see the "Early Attempt" in the attachments). I decided to try again after the sunset, hoping the afterglow might be less contrasty and more pleasing. While the decision might sound like something an experienced landscape photographer would have made, there was also a more prosaic reason. I wanted to wait it out, but I had a wife and an eight year daughter in tow. My then-wife was adamant not to sit and wait for "no stupid sunset" and demanded to drive her back to a nearby village for a cup of tea. Those who were there know that the lighthouse is pretty remote, and driving back, finding a family-friendly restaurant, dropping them off, and driving back probably took an hour.
When I came back, not only the hordes of tourists disappeared as soon as the sun dipped behind the clouds on the horizon, but also all the photographers but one left, to my surprise. The two of us had the whole rocky shore at our disposal, without getting in each other's way. I noticed a small tidal pool on the rocks, reflecting the top of the lighthouse, and decided to make it a part of the composition. The lighthouse light was actually pulsating at regular intervals, so when making a bunch of bracketed exposures, I would have to count 1-2-3 in between shots, in order to coincide with the strongest pulse.
Post Processing
The shot was from 2007, done with a Canon 20D. I think I was processing it almost a year later. It was a difficult shot to process, even bracketed. It took days. Not just because of the complexity, but also because I would let intermediate results sit for a couple of days, so when I return to it I can see it with fresh eyes.
At the time, in 2007 and 2008, I was reading three books that became my photographic bibles:
- Pictorial Composition (Composition in Art) (https://www.amazon.com/gp/product/0486233588/ref=oh_aui_detailpage_o03_s00?ie=UTF8&psc=1http://)
- Picture This: How Pictures Work (http://https://www.amazon.com/gp/product/1587170302/ref=oh_aui_detailpage_o03_s01?ie=UTF8&psc=1)
- Perception and Imaging: Photography-A Way of Seeing (https://www.amazon.com/gp/product/0240809300/ref=oh_aui_detailpage_o08_s00?ie=UTF8&psc=1http://)
I tried applying everything I learned into the processing of this image. Another reason it took days until I was reasonably satisfied with the result. Also, these days, automated processing of bracketed shots in Lightroom would probably make it much easier and faster, but back then, I was doing it all in separate layers in Photoshop. Greater control, but much more painstaking.
Why This Image
The story behind it, road trip, family involvement, extreme difficulties in processing it, and ultimate reward (cover of a magazine) are the reasons. I understand it is not much "artsy," more like "chocolate-box pretty." I know it is what I call utilitarian photography, probably more suitable for a calendar (the third one in this thread), or a tourist brochure, or a magazine cover. Then again, there is more to photography than just "artsy."
If you made it this far, thanks for being patient.
Post by: MattBurt on August 08, 2018, 12:12:28 pm
Incredible imagination!
Rob
Thanks Rob!
My favorite, at least when landscapes are concerned: Bass Harbor Head Lighthouse, Acadia NP, Maine.
Great image and story. Those of us with families can probably relate to the reluctant spouse and kid(s). That's all part of the act of juggling compromises that often comes with landscape photography with a family along!
Post by: RSL on August 08, 2018, 01:32:19 pm
Post by: Chris Kern on August 08, 2018, 03:54:28 pm
I noticed a small tidal pool on the rocks, reflecting the top of the lighthouse, and decided to make it a part of the composition.
Well-seen. It really makes the image work.
Post by: Ivo_B on August 08, 2018, 03:58:29 pm
Post by: petermfiore on August 08, 2018, 05:48:49 pm
I just like this one very much. I was standing on a NYC street corner waiting for the light to change. I knew from a previous shot I had a relative slow shutter set and the bike messenger would blur. I got lucky!
Peter
Post by: Patricia Sheley on August 08, 2018, 10:30:01 pm
I just like this one very much.
Peter"
As do I, as he rides of out of known gravitational fields of time and space. The physicist in you is showing himself~
Post by: Rob C on August 09, 2018, 04:46:15 am
Time Messenger...
I just like this one very much.
Peter
Great balance - not only on the bike!
;-)
Post by: KLaban on August 09, 2018, 06:19:00 am
(https://farm5.staticflickr.com/4647/38520285805_88344baf39_c.jpg) (https://flic.kr/p/21FUwWH)
Simply superb!
Post by: RSL on August 09, 2018, 07:13:39 am
Post by: fdisilvestro on August 09, 2018, 08:00:35 am
Simply superb!
Agreed!
Post by: MattBurt on August 09, 2018, 10:34:32 am
According to my wife, the week I took that made it seem like I was having an affair with the ice, sneaking off to be with it at every opportunity. I knew time was short and even though she gave me a little bit of a hard time, she really does give me a lot of freedom to pursue my vision without being resentful.
That will come in handy for the new moon Perseid peak coming this weekend. Hoping for clear skies and low smoke! 8)
Post by: KLaban on August 09, 2018, 12:35:35 pm
Thanks for the kind words on my ice photo!
According to my wife, the week I took that made it seem like I was having an affair with the ice, sneaking off to be with it at every opportunity. I knew time was short and even though she gave me a little bit of a hard time, she really does give me a lot of freedom to pursue my vision without being resentful.
That will come in handy for the new moon Perseid peak coming this weekend. Hoping for clear skies and low smoke! 8)
Perhaps a strange thing for a contributor to Luminous Landscape to say, but landscape imagery usually leaves me cold. All the more reason then to celebrate your image. Even the ice melted my heart.
;-)
Post by: Chairman Bill on August 09, 2018, 06:41:10 pm
Post by: Rand47 on August 11, 2018, 04:32:29 pm
(https://photos.smugmug.com/photos/i-wvSkHkw/0/b3d61146/XL/i-wvSkHkw-XL.jpg)
And, if I may be permitted, in my mind this photo is a tie for favorite. Downtown Seattle, 1969 I think. The out of place gloves have always haunted me. Again, my trusty M4. I really miss those innocent days of just wandering with my camera.
(https://photos.smugmug.com/photos/i-7JXM8jP/0/81f0bafc/X3/i-7JXM8jP-X3.jpg)
Rand
Post by: Rob C on August 11, 2018, 04:40:11 pm
(Unless the rangefinder was off... just joking!)
Rob
Post by: Rand47 on August 11, 2018, 05:29:59 pm
Great shot of your wild buddy. Takes courage to deal with focus like that.
(Unless the rangefinder was off... just joking!)
Rob
Rob,
Thanks . . . My work back then was 100% instinct. I just shot what I felt.
Rand
Post by: Rob C on January 02, 2019, 03:11:56 pm
Here would be my favourite in my version of street, if only because I was in one at the time of going click. :-)
Post by: Eric Myrvaagnes on January 02, 2019, 03:43:23 pm
Post by: KLaban on January 02, 2019, 04:33:07 pm
Post by: Slobodan Blagojevic on January 02, 2019, 04:39:04 pm
Epson ran an advertising campaign, asking famous photographers to hold in front of them a print of their most famous shot (e.g., Steve McCurry's Afghan girl). That is easier, and more suitable for still breathing photographers, but not necessarily for LuLa.
It seems to me that the approach Josh has offered has better chances: a story (article) developed around a single significant shot.
Post by: Rob C on January 02, 2019, 06:14:44 pm
OK, just to help get this thread going again, here is one of my earliest continuing favorites, from the mid 1960s.
Wasn't that the "blanket at the top of the stairs"?
It's a great shot of textures and shape!
Rob
Post by: MattBurt on January 02, 2019, 06:56:32 pm
I have trouble picking favorites so here is another from me. Maybe my favorite from 2018. At least for now...
(https://farm2.staticflickr.com/1976/44397207354_58acfeb099_c.jpg) (https://flic.kr/p/2aDehYj)
Post by: Eric Myrvaagnes on January 02, 2019, 07:29:41 pm
Yup. So here (again, I think) are the stairs looking down from the room with the blanket.
Wasn't that the "blanket at the top of the stairs"?
It's a great shot of textures and shape!
Rob
Post by: KLaban on January 03, 2019, 04:53:58 am
(http://www.keithlaban.co.uk/The_Visit.jpg)
Post by: rabanito on January 03, 2019, 05:33:40 am
Temple Boy (dek wat)
Thailand
Post by: kers on January 03, 2019, 09:08:48 am
i send you all this cliché image that has something i very much like.
Post by: KLaban on January 03, 2019, 12:42:21 pm
I've already posted to this thread what I believe to be my Very Best Exotic shot from India and it is from 2018. So, in the hope there will be some new blood contributing to this thread I give you - once again, but not to this thread - my Second Very Best Exotic shot from India which is also from 2018 ;-)
Apologies - particularly to Oscar ;-) - I forgot to take my own advice and explain why it is a very fave.
I was initially attracted by the beauty of the woman in the foreground and raised the camera to my eye. As she approached the entrance to the courtyard the puppies came to greet her and her friend appeared stage left. Snap. Pure chance, pure serendipity. The slanting light and the colours just sealed the deal. In a perfect world all the puppies would've been facing forward and the sandal would've vanished, but given that the action lasted but a fraction of a second it's just about as near a perfect moment that I could have wished for. Then, after gaining her permission, I went on to photograph her sitting on the wall, but as charming as it was and as beautiful as she was the image lacked the spontaneity of the original shot.
Post by: James Clark on January 05, 2019, 02:37:21 pm
Post by: John R on January 05, 2019, 06:35:38 pm
JR
(https://photos.smugmug.com/Camera-Impressions/i-pg34Zkw/2/a8b7336f/L/Oct%2031-10%20HP%20135%20ptxcopy-L.jpg)
Post by: Slobodan Blagojevic on January 05, 2019, 07:12:18 pm
... would I have done does this with film and risk wasting so much film?...
I did it with film about 30 years ago, wasting precisely zero frames. All it takes is a camera with multiple-exposure capability.
On a side note, I always protest when I see the name Orton, as it was Ernst Haas who pioneered it years before Orton.
Post by: John R on January 05, 2019, 11:37:33 pm
I did it with film about 30 years ago, wasting precisely zero frames. All it takes is a camera with multiple-exposure capability.I recall that Orton developed his technique to deal with high and low areas of contrast within an image. Experimentation led the orton effect. I don't doubt Ernst Haas and perhaps others performed this technique before Orton. Orton said as much on this site. However, Orton may have popularized the usage of the technique.
On a side note, I always protest when I see the name Orton, as it was Ernst Haas who pioneered it years before Orton.
Maybe I should have left reference to multiple exposures out of my comments. That was not my main point. But even those do not look the same in film as in digital PP. The effect is much softer and painterly on film. As to not wasting film, it really depends on what you are trying to do. I find that I cannot move my camera in small enough increments to create the effect I want. I may try a geared tripod head to ensure small micro-movements.
JR
Post by: rabanito on January 06, 2019, 05:01:11 am
No wasting of material and lots of control
So they say
Panorama with my CellPhone
1 Normal
2 Orton-Photoshopped
Just out of curiosity, not that I like this kind of thing.
Post by: Jeremy Roussak on January 06, 2019, 04:59:04 pm
Here's mine Well, one of them ...
I think I've seen that before, Bill - but it's a great pleasure to see it again.
Jeremy
Post by: RogTallbloke on January 08, 2019, 06:12:38 am
Blencathra near dawn.
Olympus E-410 and kit zoom.
(https://tallsnaps.files.wordpress.com/2019/01/blencathra.jpg)
Post by: Rob C on January 08, 2019, 01:58:48 pm
Here's one of my favourites from years ago. I had to scrape it back off the web so it's low res.
Blencathra near dawn.
Olympus E-410 and kit zoom.
(https://tallsnaps.files.wordpress.com/2019/01/blencathra.jpg)
I'm glad you didn't try to get lots of detail in the foreground foliage; I think landscape benefits from extremes of natural tonality, particularly in that sort of framing context, but then I don't do landscape myself because I have no gift or great love for it.
;-(
Post by: RogTallbloke on January 08, 2019, 02:14:23 pm
Post by: Eric Myrvaagnes on January 08, 2019, 04:06:09 pm
Post by: RogTallbloke on January 08, 2019, 05:09:05 pm
Post by: John R on January 09, 2019, 01:21:20 am
I'm glad you didn't try to get lots of detail in the foreground foliage; I think landscape benefits from extremes of natural tonality, particularly in that sort of framing context, but then I don't do landscape myself because I have no gift or great love for it.The image certainly has subtle lighting and depth. You can see the layered greens leading to the soft light.
;-(
JR
Post by: RogTallbloke on January 09, 2019, 03:15:24 am
Post by: imagetone on February 25, 2019, 12:00:02 pm
I think given the plethora of good food styling, photography and blogging that exists now (eg Instagram) nowadays it might be just another soup shot.
Tony
Post by: MattBurt on February 25, 2019, 12:21:35 pm
Not sure if this is my best but it's a favourite and my most commercially successful. I set it up and shot it in 2006 early in my professional career for my portfolio but it was picked up by Phase One as one of three images they used in their online campaign when they re-launched themselves as a complete camera system provider.
I think given the plethora of good food styling, photography and blogging that exists now (eg Instagram) nowadays it might be just another soup shot.
Tony
Great shot! That must have been exciting to see unfold early in your career.
Post by: imagetone on February 26, 2019, 02:48:34 pm
Sent from my iPhone using Tapatalk
Post by: Arlen on March 02, 2019, 06:26:50 pm
For years I had been trying to get a good up-close and personal photo of a mayfly hatching on the water surface, for a book I was writing about aquatic insects important to fly fishing. Mayflies live the majority of their lives as nymphs crawling around on the bottom of rivers and lakes. Then they swim to the surface, break open their exoskeleton, squeeze out and onto the top of the water, where they take a few moments to expand and harden their wings before flying away. It all happens very fast. You have to be in the right place at the right time, with the right equipment, and a good deal of luck.
On a spring day in 2007 it all came together. Using a macro lens and extension tube, I got several snaps as a western March Brown mayfly made the transition. As soon as I reviewed this shot on the back of the camera, I knew I had the image that would be on the book's front cover. And indeed, my first book, BugWater (https://www.amazon.com/BugWater-Fishers-Through-Seasons-Aquatic/dp/0811719723), was published in 2010 with that picture serving as the flagship image.
(https://pbase.com/art1/image/168876103/original.jpg)
Post by: Eric Myrvaagnes on March 02, 2019, 08:20:58 pm
Great shot.
Post by: Arlen on March 04, 2019, 07:45:11 pm
Post by: TippHex on March 08, 2019, 07:15:27 pm
So to this picture. I really don't have a 'best shot' to show. But this is currently my favourite or 'best image' but then again it might not be when I revisit it. Why have I chosen this one? Because at the time I was down and out, bored, fed up, cold, wet and generally pi**ed off with everything, wandering around my boring home town in the rain with my camera looking for something to shoot. Forcing my depression away by doing 'something'. I noticed people walking through this alleyway and recognised here was a potential shot. So I stood there like an idiot getting increasingly numb and wet just waiting for someone to walk into the frame. And just like that, this guy did just that. His demeanour, hunched under his brolly, matched my own glum mood completely. Sometimes fate works in your favour. As soon as I chimed this image, my mood lightened. And that is why this is (currently) my best shot. Thanks for reading and looking!
Post by: Slobodan Blagojevic on March 08, 2019, 08:43:05 pm
Post by: Eric Myrvaagnes on March 09, 2019, 12:19:23 am
^ Welcome to the forum (LuLa?) Tipp. Good shot and story. Matches my feelings when I go out to shoot.Ditto to what Slobodan said.
-Eric
Post by: TippHex on March 09, 2019, 04:15:03 am
^ Welcome to the forum (LuLa?) Tipp. Good shot and story. Matches my feelings when I go out to shoot.
Thanks, yes, first time here. Decided to engage for a change. Glad to know people often feel the same sometimes. Photography is essentially a introspective if not lonely activity. We are all essentially observers I guess.
Post by: Rob C on March 09, 2019, 10:01:57 am
Thanks, yes, first time here. Decided to engage for a change. Glad to know people often feel the same sometimes. Photography is essentially a introspective if not lonely activity. We are all essentially observers I guess.
Those sentences are the reason some of us do what we do here. They also underline the reason why some of us, money no object, still wouldn't dream of going on jaunts with other photographers of any kind.
Strangely, being alone does not inevitably equate with being lonely. It can also be a relief.
Welcome to the forum, and a great image, too.
Rob
Post by: TippHex on March 09, 2019, 01:59:47 pm
Those sentences are the reason some of us do what we do here. They also underline the reason why some of us, money no object, still wouldn't dream of going on jaunts with other photographers of any kind.
Strangely, being alone does not inevitably equate with being lonely. It can also be a relief.
Welcome to the forum, and a great image, too.
Rob
Thanks Rob. Yes, very true, shooting while with other photographers doesn't work at all. And you're right of course, being alone is not the same as loneliness. I wonder if photographers in general need to be something of a breed apart? (but excluding social and fashion photographers I suspect...) Another discussion for the philosophical threads perhaps!
Post by: Rob C on March 09, 2019, 03:56:30 pm
Thanks Rob. Yes, very true, shooting while with other photographers doesn't work at all. And you're right of course, being alone is not the same as loneliness. I wonder if photographers in general need to be something of a breed apart? (but excluding social and fashion photographers I suspect...) Another discussion for the philosophical threads perhaps!
Fashion photographers: each different; I was one for many years and worked with the minimum number of people possible around - more often than not just the model and myself. It made for an uncomplicated shoot with concentration where it should be, not split between the job and trying to keep a client feeling valuable rather than ignored and resented, though I guess some saw through the charade anyhow.
Other guys were the opposite, and maybe it worked for them.
That said, it's a funny thing about trips somewhere where more folks are included: at the end, arriving back at the airport when it's all over can be a bit sad. I suppose that for a short time, with the right folks, you become a sort of commando unit: fly in, go into places where maybe you should not, get your shots, get the hell out again. It's not really dramatic as that of course, just feels that way sometimes, and you know you may probably never work with those same models again. Once or twice that was blessed relief, but usually I got quite find of them in a kinda way. That said, it was a capsule, a thing separate from your home life, which quickly brought you back to reality and the work you then had to knuckle down and do after the fun bit was over. That changed when I managed to talk my wife into coming along on trips to help out... she certainly changed the dynamic of those shoots by removing some of the inevitable pressures that crop up.
Rob
Post by: TippHex on March 09, 2019, 04:48:49 pm
Fashion photographers: each different;
(Actually I was making a small joke on the 'social' side of photography) Commercial work of course needs people around you to make it work I know, having working in the advertising field for many years. What I was pertaining to was personal work that is free of art directors, briefs and assistants. No direction or agenda to get any shot. Here you need your own personal space to concentrate on what it is you 'see' or 'feel' about where you are and any emotional connection. That I suppose is the lonely road. Having even a friend along in these circumstances can derail focus. (oh dear, bad pun) It does mine anyhow.
Post by: Eric Myrvaagnes on March 09, 2019, 04:49:40 pm
But I had a unique "group" photography experience a few weeks ago. A photographer friend who had seen some of my Plum Island beach abstracts was curious to explore my favorite shooting locations there. We met at the parking lot at the first beach (there are seven different beaches), and three of his students were there as well.
After introductions, we all trooped off over the boardwalk to the beach and spent a couple of hours photographing. As soon as we hit the beach, we scattered in all directions, and not a word was spoken, and no two of us were within fifty yards of another photographer.
We then traveled to my favorite beach (number 7) and the same thing happened.
It was quite liberating: Nobody looking over anyone else's shoulder or interrupting in any way. And I think we all had a good time, snapping whatever we found interesting, not caring if anyone else had a "better" shot.
I was certainly expecting my focus to be derailed, but surprisingly it wasn't.
But maybe it was like getting in a car accident without serious injury. It may be possible to photograph with a group, but I'm not eager to try it again.
Post by: John R on March 10, 2019, 01:06:14 am
...That I suppose is the lonely road. Having even a friend along in these circumstances can derail focus. (oh dear, bad pun) It does mine anyhow.Great image and interesting narrative. I think 'best' image is a red herring anyway. Body of work is much more important, IMO.
JR
Post by: Rob C on March 10, 2019, 10:53:14 am
Great image and interesting narrative. I think 'best' image is a red herring anyway. Body of work is much more important, IMO.
JR
No, it's not a red herring at all.
It's a straightforward choice, and precisely what this thread was designed to encourage. No deception there or derailment from anything else as would an attempt at a red herring be.
If you want to create a thread around body of work, you can easily do so. Even red herringa may have a valid rôle if you confine the thread to colour.
;-)
Post by: TippHex on March 10, 2019, 04:04:22 pm
Great image and interesting narrative. I think 'best' image is a red herring anyway. Body of work is much more important, IMO.
JR
I think what was being alluded to was that in my narrative, I said it's difficult, if not impossible, for an author to 'know' what is the 'best' image. Personally, my 'best' image often changes quite frequently in my mind. Usually it's the latest one... and then over time, say an hour to a year, it can become my least 'best' image. Sometimes I feel I have no good images at all, never mind a best one. Existential angst can rear its head too often. I used to be indecisive, but now I'm not so sure...
Post by: Rob C on March 10, 2019, 05:03:28 pm
I think what was being alluded to was that in my narrative, I said it's difficult, if not impossible, for an author to 'know' what is the 'best' image. Personally, my 'best' image often changes quite frequently in my mind. Usually it's the latest one... and then over time, say an hour to a year, it can become my least 'best' image. Sometimes I feel I have no good images at all, never mind a best one. Existential angst can rear its head too often. I used to be indecisive, but now I'm not so sure...
Doubt is part of the later years; if you have any at the beginning, well, there wouldn't really be a later.
I find that what happens is that one gets ever more into a particular thing, and when that's done, gone with the wind, one faces a vacuum that can't often be filled. Probably personal extrapolation, here, but attempts to fill personal vacuums don't really amount to a hill of beans: they become poor relations, substitutes that eventually leave one flat and disinterested.
I agree that a true best is probably emotionally subjective, but I think it's pretty easy to find at least two or three shots that one feels are as good as it got.
Rob
Post by: TippHex on March 11, 2019, 07:07:39 am
Doubt is part of the later years; if you have any at the beginning, well, there wouldn't really be a later.
I find that what happens is that one gets ever more into a particular thing, and when that's done, gone with the wind, one faces a vacuum that can't often be filled. Probably personal extrapolation, here, but attempts to fill personal vacuums don't really amount to a hill of beans: they become poor relations, substitutes that eventually leave one flat and disinterested.
I agree that a true best is probably emotionally subjective, but I think it's pretty easy to find at least two or three shots that one feels are as good as it got.
Rob
Wise words. Yes, once the certainties of youth have gone, only doubt remains. I think as photographers, (just as with poets, writers, painters, etc) we have something rather special within our grasp. Something that allows us to see outside of ourselves, even if only a little. In that sense, there will never be a vacuum to fill. So, is any outside validation needed, or in fact is it more of a curse?
Post by: morristaub on March 11, 2019, 03:41:35 pm
Wonderful thread this. And it posed a question in my mind... how do you know what is your best shot? Many, many times a shot I personally like very much has been dismissed with a shrug of 'so what?' Usually after I show them to my spouse and off-spring. I tend not to do that these days... In the end beauty, or even just interest, is in the eye of the beholder. As the originator, I've found I'm often the worst person to decide if an image is of any real worth. Revisiting an image a year or two later, can make me wince. What was I thinking? Ok, maybe all this should be for the 'art of photography' threads, I'm just rambling.
So to this picture. I really don't have a 'best shot' to show. But this is currently my favourite or 'best image' but then again it might not be when I revisit it. Why have I chosen this one? Because at the time I was down and out, bored, fed up, cold, wet and generally pi**ed off with everything, wandering around my boring home town in the rain with my camera looking for something to shoot. Forcing my depression away by doing 'something'. I noticed people walking through this alleyway and recognised here was a potential shot. So I stood there like an idiot getting increasingly numb and wet just waiting for someone to walk into the frame. And just like that, this guy did just that. His demeanour, hunched under his brolly, matched my own glum mood completely. Sometimes fate works in your favour. As soon as I chimed this image, my mood lightened. And that is why this is (currently) my best shot. Thanks for reading and looking!
I have felt this way about a 'best shot' since forever. Years ago I think it was Winogrand who said he liked to put his film/images away for quite a long time and look at them objectively. He felt looking at his work immediately created an emotional attachment to it that wasn't objective. I think it was Gary. I could be wrong.
It's why I never toss images right away. Actually. I only toss the white and black frames. I keep the rest and let time pass. I often find images, compositions, years later that I just didn't 'see' when they were taken.
just a note to Josh : again, I'm not sure how many times it is now, I had to type in the letters shown and answers to the math questions to be able to post. It is getting really tiresome.
Post by: degrub on March 11, 2019, 03:51:44 pm
just a thought.
Post by: faberryman on March 11, 2019, 03:56:39 pm
It's why I never toss images right away. Actually. I only toss the white and black frames. I keep the rest and let time pass. I often find images, compositions, years later that I just didn't 'see' when they were taken.I have never found this to be the case. It's pretty obvious to me which are the rejects and which are the keepers, and then over time I find that some of what I thought were keepers are rejects too.
Post by: morristaub on March 12, 2019, 04:59:15 am
Is your browser set to allow cookies from the site ?
just a thought.
Didn't consider this. I do have 'third party trackers' blocked. I only seem to have this problem/complication posting anything here. I will write Josh, again, with this info and see if it's a problem.
Post by: morristaub on March 12, 2019, 05:04:41 am
Didn't consider this. I do have 'third party trackers' blocked. I only seem to have this problem/complication posting anything here. I will write Josh, again, with this info and see if it's a problem.
Dang, I just realized I posted this without having the rigamarole of the jumbled text and math questions. Josh must have worked some magic for me. I didn't change any of my browser settings. I have been anointed.
Post by: Rob C on March 12, 2019, 07:07:51 am
Dang, I just realized I posted this without having the rigamarole of the jumbled text and math questions. Josh must have worked some magic for me. I didn't change any of my browser settings. I have been anointed.
Careful: the next stop's often the frying pan.
;-)
Post by: Jeremy Roussak on March 12, 2019, 03:49:43 pm
Dang, I just realized I posted this without having the rigamarole of the jumbled text and math questions. Josh must have worked some magic for me. I didn't change any of my browser settings. I have been anointed.
I think you have to get two or three answers right and then your card is marked.
Jeremy