Show us some Abstracts!

[John R]

Many thanks for the comments everyone. This was double exposure with slight camera movement. Here is what the subject looks like straight. A scene which looks good in its own right.

[Eric Myrvaagnes]

It does look good, But the double-exposure version is even better.

[Jim Kasson]

GFX 50S, CO 60mm f/4:




Jim

[BobDavid]

+1  Big camera, big picture!

[Eric Myrvaagnes]

GFX 50S, CO 60mm f/4:




Jim

Neat!

[BobDavid]

Great shots, James, especially 1 and 3.

I like the first one.

[James Clark]

I like the first one.

Thanks y'all!  I thought they got lost in the ether. My apologies also for not acknowledging the complement earlier Slobodan - I totally missed it, but (especially) since this style is something new to me that I've been developing the feedback is really appreciated.

[John R]

James I like 1 and 2 best. Sometimes I can relate and sometimes I cannot to these very intriguing images. Love the implied motion in each, however.

Now the other Jim and his magical weave machine draw me in right away. It reminds me of looking at shear curtains where he forces you to look at the weave while hinting at the light beyond.

JR

[John R]

I hope you get the point. Took some effort to make it sharp.

JR

[Eric Myrvaagnes]

James,

One more vote for the first of the three.

Eric

[James Clark]

Many thanks for the comments everyone. This was double exposure with slight camera movement. Here is what the subject looks like straight. A scene which looks good in its own right.

I like this. I'm trying to figure out how you got your abstracted version from this though.  Somehow (nearly) all the green went away.

[James Clark]

James,

One more vote for the first of the three.

Eric

I think that's the most successful of the three as well

[John R]

I like this. I'm trying to figure out how you got your abstracted version from this though.  Somehow (nearly) all the green went away.

When you do in-camera motion techniques, you will notice that colours become softer and more muted. Sometimes I like the effect, other times I try to bring back the original colours and density. In the straight shot, I simply hit "auto smart fix" in PS Elements, and it literally will adjust everything- constrast, colour, brightness, etc- skewing everything towards what I call a "pop" style. Sort of like Fuji Velvia vs most other other film. So this latter image is a"pop" style rendering, which I did not bother to adjust. See below for samples:





All flat lighting, but you can readily see the truer more denser colours in the straight image vs the double exposure with camera movement.

Hope that answers your question.

JR

[Eric Myrvaagnes]

Hope that answers your question.

JR

Just one more tiny technical question, John: Why don't my attempts at this kind of maneuver produce results as good as yours?   
Maybe I need a better camera???   

[John R]

Just one more tiny technical question, John: Why don't my attempts at this kind of maneuver produce results as good as yours?   
Maybe I need a better camera???   

Of course Eric. To be successful you need a much maligned lowly camera like the Pentax! With second generation Sony sensors, of course.

JR

[John R]

I spotted these ladies showing off in the park doing the can-can, if you can believe it.

JR

[Jim Kasson]

Another from the same series:



GFX, CO 60/4.

Jim

[John R]

Jim, these remind me of your Las Vegas images, especially the guitar image. Keep it up!

JR

[James Clark]

Another from the same series:



GFX, CO 60/4.

Jim

I love this one.

[James Clark]

When you do in-camera motion techniques, you will notice that colours become softer and more muted. Sometimes I like the effect, other times I try to bring back the original colours and density. In the straight shot, I simply hit "auto smart fix" in PS Elements, and it literally will adjust everything- constrast, colour, brightness, etc- skewing everything towards what I call a "pop" style. Sort of like Fuji Velvia vs most other other film. So this latter image is a"pop" style rendering, which I did not bother to adjust. See below for samples:





All flat lighting, but you can readily see the truer more denser colours in the straight image vs the double exposure with camera movement.

Hope that answers your question.

JR

Sort of   I'm more wondering why the green is so prominent in the straight shot, but the ICM shot seems to have lost just about all of it.  It could be as simple as eliminating the color in post,but I was under the impression that you didn't manipulate it quite that much.