Help with Selection

[Todd Suttles]

I am using this as an exercise and would appreciate opinions on how to think about it. These are of the same scene, shot over 3 days. In all of them what I was trying to capture and express was the wind on the sheets in an otherwise static environment. I would like to know which, if any, is worth working on. I think my favorite is the B&W full scene, but I like some of the others too. If they are all trash say so please. If there is something worth working on I'd apprecaite knowing that too. There are other images not posted of each composition. Thanks in advance if you have the time, patience, and inclination to weigh in. (aside from the B&W there arevarying other things I would try in processing- just decided to stop before moving further). -/t

[Todd Suttles]

last

[RSL]

Todd,

You seem frequently to ask for help with a selection between various shots. That shouldn’t be necessary at all. When you lift that camera you should have a clear picture of what you plan to frame in the finder. Once the shutter has clicked the question then becomes whether or not you got what you set out to get. If you didn’t, you curse and dump it and if possible try again. With street, you usually can’t try again, and that’s why it’s a lot harder than other kinds of photography. If you got what you wanted the question then is whether or not what you got was worth getting, and that’s where criticism can come into play, though on a site like LuLa it’s rarely helpful. The biggest problem with criticism on LuLa is that many people take criticism in its more limited meaning: describing what’s wrong rather than what’s right. Thing is, if I look at a picture that was well selected, well framed, and well processed I can enjoy it and there’s not much point in saying anything about it. I often think that the less comments on a picture, the better the picture probably is.

[Ivo_B]

There is a lot of potential in this approach.
The last one is good.

Nice progress!👍🏻

[degrub]

  "blowing in the wind" either needs an old scraggly Vet's face peering out or a fashion model, imo.

[Todd Suttles]

Todd,

You seem frequently to ask for help with a selection between various shots. That shouldn’t be necessary at all. When you lift that camera you should have a clear picture of what you plan to frame in the finder. Once the shutter has clicked the question then becomes whether or not you got what you set out to get. If you didn’t, you curse and dump it and if possible try again. With street, you usually can’t try again, and that’s why it’s a lot harder than other kinds of photography. If you got what you wanted the question then is whether or not what you got was worth getting, and that’s where criticism can come into play, though on a site like LuLa it’s rarely helpful. The biggest problem with criticism on LuLa is that many people take criticism in its more limited meaning: describing what’s wrong rather than what’s right. Thing is, if I look at a picture that was well selected, well framed, and well processed I can enjoy it and there’s not much point in saying anything about it. I often think that the less comments on a picture, the better the picture probably is.

Russ, How I wish I was THERE, but I am getting closer, slowly. I don't have any formal art education so I need to learn the rules. That is why I have posted a couple multi-image posts like this. These are the five compositions I made of this house; I composed on tripod, and shot many (200+/-) total captures as the wind interacted with the sheets; any cropping was pre-visualized. I think about this post as if I am putting up a contact sheet with the couple circled that I would want to see a print of.

I know from experience in my other profession that there comes a time when something is "good" because I say it is, but that is after I've painfully learned what was not, and it is accompanied by shudders of embarrassment looking backwards    [and gratitude for all the people who cared enough to be honest, and were patient enough to teach me why]. I post here in hope of learning what is not good and why. Its always good to hit the mark every once in a while of course, but even then I need to be told why.

For this exercise I like the first and the last. But, the first is not about movement. It does however fit in with the odd, enigmatic images I like to make of which there are many.

Finally, after a long winded reply (sorry), thank you in particular for the years of your comments, and the encouragement and specific instructions on how/who to study to get better. appreciate you, -/t

[Todd Suttles]

There is a lot of potential in this approach.
The last one is good.

Nice progress!👍🏻

Thank you. appreciate the help. -/t

[Ivo_B]

Thank you. appreciate the help. -/t

You’re welcome, Todd.

A simple advice: shoot, shoot a lot. And be very critical in your selection. Don’t trow away your rejects. Look at them again in a few years.

Sometimes (read often) that one shot is found after going through dozens of frames on the light table (or your screen) and narrowing down your selection to that one (or nothing)

After some time, for the one in a few months, for the other it will never come, you will recognize photo’s before you raise your camera. It doesn’t work the way around.

It’s like life, it is lived upfront but understood backwards.

It is good practice to look at a lot of art, all kind of art, not only photography.  At least, if you are interested in art, otherwise it is of no use.

Don’t let yourself pushed down. The decisive moment is a very mis understood concept. It’s about the moment you push the button, not about how amateurish it is to push the button on other moments.

Have fun with your camera.

Ivo

[Todd Suttles]

You’re welcome, Todd.

A simple advice: shoot, shoot a lot. And be very critical in your selection. Don’t trow away your rejects. Look at them again in a few years.

Sometimes (read often) that one shot is found after going through dozens of frames on the light table (or your screen) and narrowing down your selection to that one (or nothing)

After some time, for the one in a few months, for the other it will never come, you will recognize photo’s before you raise your camera. It doesn’t work the way around.

It’s like life, it is lived upfront but understood backwards.

It is good practice to look at a lot of art, all kind of art, not only photography.  At least, if you are interested in art, otherwise it is of no use.

Don’t let yourself pushed down. The decisive moment is a very mis understood concept. It’s about the moment you push the button, not about how amateurish it is to push the button on other moments.

Have fun with your camera.

Ivo

Thank you Ivo. I couldn't stop taking pictures. The rest of it I am trudging along, enjoying it as I learn; sometimes quickly, sometimes slowly.

[rabanito]

Todd,

You seem frequently to ask for help with a selection between various shots. That shouldn’t be necessary at all. When you lift that camera you should have a clear picture of what you plan to frame in the finder. Once the shutter has clicked the question then becomes whether or not you got what you set out to get. If you didn’t, you curse and dump it and if possible try again. With street, you usually can’t try again, and that’s why it’s a lot harder than other kinds of photography. If you got what you wanted the question then is whether or not what you got was worth getting, and that’s where criticism can come into play, though on a site like LuLa it’s rarely helpful. The biggest problem with criticism on LuLa is that many people take criticism in its more limited meaning: describing what’s wrong rather than what’s right. Thing is, if I look at a picture that was well selected, well framed, and well processed I can enjoy it and there’s not much point in saying anything about it. I often think that the less comments on a picture, the better the picture probably is.

I always read what you write. Interesting an usually very sound.

[RSL]

Thanks, Rab. I'm flattered.