Blackstone Saguaro

[alainbriot]

Blackstone Saguaro
Two-captures collage, Fuji X100s.

[Christoph C. Feldhaim]

Wild !

[alainbriot]

The interesting thing is that this photograph was taken at the same time as the one I posted previously, 'Arizona January Sunset'.  The interpretation of the original capture is entirely different than the interpretation of my other image.  Both are departures from reality, the originals looking quite different than the images posted here. Looking back at them after completing the artistic versions, my originals captures come accross as 'plain.' 'normal' or even 'mundane'.

Different visions guided my approach to each image.  For Arizona January Sunset I wanted to create an image whose interest focused on color first and form second.  To this end I created a pleasing color palette using an harmonious color combination.  For the second I wanted form to be the primary source of interest.  I also wanted to create drama, something that I achieved by moving the image from color to black and white.  Drama is also achieved through the visual relationship of the saguaro and the clouds, the shape of the cloud formation being related through form to the shape of the saguaro.  The saguaro points to the clouds, and the clouds extend the shape of the saguaro upwards and towards the infinity of space.

[Christoph C. Feldhaim]

I guessed that, sort of.
After all its neither about the subject nor about the photographer or his vision but some sort of not so clearly defined interaction.
Since I've been working hybrid (film/scans) and using Photoshop it has been scaring and fascinating me at the same time what different images (visions) I could pull out of a single shot.
I feel constantly pulled between "abusing" the subject to fullfill some sort of vision (I'd call this the omnipotence state) and a sort of horror about what I am actually doing to the subject (the humble state - not necessarily better than the other state).
Since I have a serious digital camera (Fuji X) it has become even worse, because of the attack of killer color definition from outer space.
The overwhelming power of digital makes my mind feel numb at times.
With this power of digital comes a vertiginous freedom, sometimes a threatening one, which requires a great discipline of mind for not falling into one of the many pits opening around all at a sudden.
Seems you used your digital powers wisely when editing this shot.
We'll not ask the cactus about his opinion ...

Cheers
~Chris

[langier]

Nicely done, Alain!

[dhancock]

Spectacular!

[Dave Pluimer]

I really like the B&W images that I get from my X100, even straight from camera. This is very nice image. Great tones, details.

[Paulo Bizarro]

Nice.

[francois]

It looks like a rocked pointed to the sky, this is a powerful image. The sky and the B&W treatment add drama. The comparison with the previous "saguaro" shot is interesting and it shows how vision can give a completely interpretation of a basically similar subject.

Well done Alain, I like it a lot.

[alainbriot]

It looks like a rocked pointed to the sky, this is a powerful image. The sky and the B&W treatment add drama. The comparison with the previous "saguaro" shot is interesting and it shows how vision can give a completely interpretation of a basically similar subject.

Well done Alain, I like it a lot.

It's actually the exact same saguaro.  Just a different shooting angle. I was much closer for this capture and looking up while for the color image I was further away and shooting level.

Thank you everyone.

ALain

[alainbriot]

It was not though black and white conversion is always something that comes as a challenge.  I always regret letting go of color so when I do I make sure it is for a worthwhile reason which in artistic terms means creating a powerful image.  That's probably why my black and white images are dramatic rather than quiet.  Getting out of my comfort zone in regards to black and white would be creating a series of quiet black and white images.

[mkihne]

Mission accomplished on both images Alain. Very nice.

Mike

[alainbriot]

Slightly is the key word.  Changing photographic styles can be just as challenging as changing countries!

[Christoph C. Feldhaim]

... Getting out of my comfort zone in regards to black and white would be creating a series of quiet black and white images.

I'd say "Do it" - I'd be very curious what you'd make out of this.
We often have something I'd call "Drama Disease" here on LuLa (and it happens elsewhere as well, and to myself too) with
- too much contrast, clarity, color, sharpness, whatever ... the very "too much" virus ...
I'd even be interested about a writeup/article about resisting this and still create good images.
"The challenge of subtlety" or something along that ...

Cheers
~Chris

[alainbriot]

It's not about subtlety it's about quietness.  I consider my color images to be subtle in the choice of color combination, color palettes, contrast level, etc.  However creating a feeling of quietness is not my goal when creating color images.

What I am talking about here is creating a series of quiet images. The terms quiet and subtle each represent a different vision for me.  While the two are not mutually exclusive (it is possible to create images that are both quiet and subtle, either in color or black and white), they are not mutually inclusive either (that is a quiet image doesn't have to be subtle and a subtle image doesn't have to be quiet either).

[Isaac]

After all its neither about the subject nor about the photographer or his vision but some sort of not so clearly defined interaction. ... I feel constantly pulled between "abusing" the subject to fullfill some sort of vision (I'd call this the omnipotence state) and a sort of horror about what I am actually doing to the subject (the humble state - not necessarily better than the other state).

Similarly --

"Photographs succeed not when a photographer has an original vision, but when viewers can re-create that vision or another equally powerful one in their own minds upon seeing the photograph. If the vision overwhelms the substance, we say the work is self-conscious. If the substance overwhelms the vision, we call the result banal or unimaginative. It is one thing for an individual image to succeed or fail on the basis of personal vision. It is quite another to create the continuity of personal vision needed to carry off the theme of an entire book."

p274 Photo Book Nuances, in "Galen Rowell's Vision: The Art of Adventure Photography" 1993

[Christoph C. Feldhaim]

I think I understand what you mean, imo subtlety maybe is more about the means, quietness more about atmosphere or vision, though often both go hand in hand.
A "loud" image and a "non-subtle" image imo at least share the moment of intrusiveness - so I see some overlap here.

What I wanted to suggest is maybe a mix of both, but more on the side of expression/vision/atmosphere.
For that I'd like to introduce the term "strong" here.
An image can be quiet and/or subtle and still be strong - may one use subtle or heavy handed means of expression.
My impression is, that many images are too loud/intrusive and people often ruin a good shot which could possibly be
a strong and quiet image by using too heavy handed means of expression (a.k.a. the slider monkey syndrome),
like I tried to line out in my description of the "Drama Disease".
Of course everything, even subtlety and quiet can be perverted into some sort of abuse and trick - in the end "strength" or even "depth" can not be grabbed as a method or receipe.
And sometimes we see images being boring because people are too shy in using their tools - but that's less often, I think.

Cheers
~Chris