Show us some Abstracts!

[Eric Myrvaagnes]

That is a fine pseudo-Rob-ian image, John.

[Eric Myrvaagnes]

John, Eric,

Not sure about 'creating' images, more about tripping over the damned things every day!

They beome irresistible to me, making me so grateful for digital because, had I to buy film, I'd probably need help by now, either from the bank for spending too much or a shrink to save me from myself. The latter may still not be out of the question.

Anyway, here's one from yesterday afternoon, though with the change in the clock, it could have been any time before sunset:



Rob

P.S. Photograpy sure is a liberating medium.

Well spoken, Rob.

The trick is to notice them when you trip over them. Many of us just stumble on and don't give a thought to those images that pop up everywhere.

[John R]

Well spoken, Rob.

The trick is to notice them when you trip over them. Many of us just stumble on and don't give a thought to those images that pop up everywhere.

Interesting observation Eric. My fellow club members and others always ask how I can see what I see. Not easy to answer. But I point out that it takes me a while to get into the 'groove' or mode of 'seeing' as the camera and lens does, because it is like a learned skill or language that I have to work up to: first gear, second gear, and then a more natural drive mode. Can't always do it at all. Once I am in a "seeing' mode, images come much more easily and I often wonder why I didn't see those subjects right away in the first place. Perhaps regular practice combined with self review and analysis is the answer, so that what you learn becomes second nature, as much as possible.

JR

[Rob C]

I view that differently: as someone whose name escapes me right now (an ever-growing curse) said, the problem with being a photographer is that pictures haunt you. You can't escape seeing them; as with women: I can't look at one without running an imaginary test shoot. I find I'm not usually a very happy guy.

Yesterday, en route for a coffee and a takeaway York ham 'n' tomato bocadillo, just after shooting the snap above, I passed the town's little square where a festivity had been set up for the kids. I never shoot pics of them, under any circumstances outwith family. But, as I said, on my way for that coffee, a kid in costume came rushing round the corner about five feet ahead of me, followed instantly by its mother, a wonderful-looking woman whom I would love to have photographed, pursued just as rapidly by a gorilla-on-steroids who was, I suppose Papa to the child. It quite depressed me, the unfairness of it all.

So yeah, life in snaps is something else: a great substitute for the real thing.

Rob

[John R]

Elegant trees in the best park in Toronto.

JR

[Eric Myrvaagnes]

Now that's a "classic" John R, and one of your best.

[francois]

Now that's a "classic" John R, and one of your best.

Yes classic but always so good! I like the soft colors a lot.

[John R]

Thanks Francois! One more before all the colours disappear. Best colour I have seen in years.

[Slobodan Blagojevic]

...One more before all the colours disappear...

 

Now I am in love with John's work (sans the logo)!

[Arlen]

Great renditions of the season, John. Opportunities are waning here, as the leaves leave the trees.

[Peterretep]

Nice work JohnR, love those two tree images.

[Peterretep]

A macro abstract.

[armand]

Experimenting. Didn't turn out the way I hoped but it looks unusual enough.

[Eric Myrvaagnes]

Good experiments, Peter and Armand.

[Arlen]

This thread has become the most active place on the forum. Good work, folks. And thanks, Eric.

I'll add one that may look simple, but the process of getting there wasn't. Worth the effort, or not?

[John R]

Arlen, your image is very subtle. To me it needs to be seen large (really large like a gallery canvas) to appreciate the subtle pattern of greys, whites and light earthy browns. I can't make it large enough to test my supposition, but I can step back. It captured your imagination for some reason, as it does mine, but I can't quite put my finger on it. Maybe symbolism for blending in?

JR

[Eric Myrvaagnes]

Arlen, your image is very subtle. To me it needs to be seen large (really large like a gallery canvas) to appreciate the subtle pattern of greys, whites and light earthy browns. I can't make it large enough to test my supposition, but I can step back. It captured your imagination for some reason, as it does mine, but I can't quite put my finger on it. Maybe symbolism for blending in?

JR

I agree with John. I'd love to see it really large.

[John R]

Thanks everyone for the comments on the tree impressions. I went out yesterday again, the light was so beautiful, diffuse and bright, and at a low angle. An unbeatable combination. I was photographing this scene when someone walked by. If I had been expecting someone, I probably would have waited until they were more away from the trees. But I will take it, all the same.

JR

[Arlen]

I think you guys have grasped major parts of my intention and my dilemma. I wrestled with posting a bigger version, but was concerned it would blow out past the viewable dimensions of some browsers/monitors. Here is a section of the entire image, with dimensions about as a large as think I dare make it.

And John, that last image is very striking; the more so I think with the figure being present.

[Rob C]

Thanks everyone for the comments on the tree impressions. I went out yesterday again, the light was so beautiful, diffuse and bright, and at a low angle. An unbeatable combination. I was photographing this scene when someone walked by. If I had been expecting someone, I probably would have waited until they were more away from the trees. But I will take it, all the same.

JR

For me, that's your best one yet. The figure makes it real enough, yet also into the next space. Great colours, too.

Rob C