Luminous Landscape Forum
Site & Board Matters => About This Site => Topic started by: PeterAit on October 01, 2013, 08:55:55 am
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What a beautiful photo - bravo! I can't help but think, however, that it might be a tad better if the person at the far left was cropped out (or was entirely within the frame).
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Lovely photo.
And not excessively "Raberized" either. ;)
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What a beautiful photo - bravo! I can't help but think, however, that it might be a tad better if the person at the far left was cropped out..
Agree. That's the picture right there! Nice capture.
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What a beautiful photo - bravo! I can't help but think, however, that it might be a tad better if the person at the far left was cropped out (or was entirely within the frame).
But that would make for a much more static composition in this lovely work. My choice would be to tighten the crop on the right, transecting the right shoulder of the figure in red, which would add another dynamic element - figures moving into and out of the frame, and off-setting the overseer more.
The impressionists (Degas and Manet come to mind) used the canvas edges so effectively to give life and movement to their figures, with transected bodies and even disembodied limbs adding motion and mystery to their works.
PB
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It *is* a static composition, and that's one of its main strengths. It does not need "dynamic" elements. It is gentle, subtle, and beautiful.
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Saw it last night on a large colour managed screen. Gosh.
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Ah, I like this a lot. A moment of seeming repose in the midst of work.
Fog & mist are our friends.
-Dave-
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It *is* a static composition, and that's one of its main strengths. It does not need "dynamic" elements. It is gentle, subtle, and beautiful.
But it's not a static composition, and that was obviously somewhat disturbing to you. I can't think that the half-cropped worker was accidental, but to introduce an element of tension into the image. Certainly, cropping out the worker would have achieved your conception of a pastoral image, the center-frozen benign master overseeing his laborers. Mine was to carry the tension another step forward to challenge this concept, to engage the viewer to question that perhaps all is not as it may seem on the surface.
PB