paintbrush.handle.blurred

Mark,

How on earth did you achieve that commanding pose in a young child!! This is an impressive picture to be respected and admired beyond your immediate circle of loving family to whom this picture is cherished. This and your total presentation of the picture as in a gallery shows off your talents well. I'd like to see other poses that would go in a series as to my mind, this has an exceptional set of worthwhile possibilities.

Thanks for sharing this picture!

Asher

Hi Mark,

Let me address the production of this photograph.

B&W is indeed highly suitable here. This together with the very close cropping above and below and a horizontal format makes for picture where there is immediacy and authority.

I might also consider using a more open aperture or longer focal length to further remove the image from family snapshot and into formal portraiture. One could investigate tone mapping directly from RAW. This could prove to be the most valuable way of developing the pictures full potential. This is how B&W pictures are developed in skilled hands. I'd look to making the shadows exquisite.As a result the photograph not only excels on immediate view but also is meticulously crafted to take advantage of the esthetic space that B&W allows. I do not know how this can end up but my reckoning is that you will enjoy the possible ways opened for your photograph.

In this regard, I'd commend you to Bart's use of tone remapping with SNS-HDR.

I have never personally used this but I plan to try it with some of my B&W portraits

Asher

Asher Kelman said:

Hi Mark,

Let me address the production of this photograph.

B&W is indeed highly suitable here. This together with the very close cropping above and below and a horizontal format makes for picture where there is immediacy and authority.

I might also consider using a more open aperture or longer focal length to further remove the image from family snapshot and into formal portraiture. One could investigate tone mapping directly from RAW. This could prove to be the most valuable way of developing the pictures full potential. This is how B&W pictures are developed in skilled hands. I'd look to making the shadows exquisite.As a result the photograph not only excels on immediate view but also is meticulously crafted to take advantage of the esthetic space that B&W allows. I do not know how this can end up but my reckoning is that you will enjoy the possible ways opened for your photograph.

In this regard, I'd commend you to Bart's use of tone remapping with SNS-HDR.

I have never personally used this but I plan to try it with some of my B&W portraits

Asher

Click to expand...

Asher - thanks for the response.

In relation to the DOF - 5.6 - the lens I used only allows this at the focal length... I am trying to persuade my partner to let me invest in a Canon TS E Tilt-shift lens - 90 mm - F/2.8 - Canon EF.. as my son says That would be good !

As for Bart doing tone mapping (HDR) I would enjoy checking the results of this out. I will upload the RAW image to anyone wanting to improve and help me learn more, as this is my weakest aspect of my practice.
Find below the image as it came out of the camera.

still working on this - bit of blur added - and a slippage added.. changed the skin values - I need to get it printed to find out where it works.

thanks for looking

Mark,

Here the color adds so much! It's even better than the black and white derivative. That perfect baby complexion is lacking in the B&W mage which is obviously best for delicate shading, forms and texture.


This next one threw me off as I forgot it was actually you who introduced this de-constrcuction of single mages in the skies theme thread!


Yes, this works. We now have two forms where the child is looking at us as if partly hidden. This allows our minds all sorts of new possibilities. I like it better than the cloud mages although they were interesting!

Asher

Asher,

thanks again for the feedback - i think I have hardened the last image a touch to much - I must leave it for a couple of days and come back to it fresh.. when my mind is clear of those eyes !

cheers

Mark Hampton said:

Asher,

thanks again for the feedback - i think I have hardened the last image a touch to much - I must leave it for a couple of days and come back to it fresh.. when my mind is clear of those eyes !

cheers

Click to expand...

Mark,

What's your history with this framing for a split image? When did you start fiddlng with it and where did the idea come from?

Asher

Asher Kelman said:

Mark,

What's your history with this framing for a split image? When did you start fiddlng with it and where did the idea come from?

Asher

Click to expand...

Asher,

I was studying Fine Art photography in Glasgow in 1996 - before the degree show and after my dissertation (on Stieglitz) I looked into the physiology of reading of photograph...

A couple of things struck me - in the eye tracker - eye movement is concentrated around contextual zones (if you ask some to tell you the age of someone / or there social status) the track will move in relation to this - but it seems to work over the middle of the image. Also photographs are sharper in the middle than at the edges. When i make pictures I think of where I want the eye to move - I try to control it by using focus / contrast / B&W - even the title can work in this way.

When I looked at contact sheets I started to make pictures half and half - i found the space between images sometimes caused a tension that the single image by its self did not. My thread old work re-photographed has some images from that time.

In digital this seems to make even more sense - I am conscious that as camera tech get better and better new ways of ordering the information can bring greater insights into the subject of the image - and also the subject of photography.

A little bit of entropy creates more tension! When we are saturated by images all day a jolt helps.

hope this is not to long winded and understandable.

cheers

Mark Hampton said:

Asher,

I was studying Fine Art photography in Glasgow in 1996 - before the degree show and after my dissertation (on Stieglitz) I looked into the physiology of reading of photograph...

Click to expand...

Now that's very interesting... and impressve!

Mark Hampton said:

A couple of things struck me - in the eye tracker - eye movement is concentrated around contextual zones (if you ask some to tell you the age of someone / or there social status) the track will move in relation to this - but it seems to work over the middle of the image. Also photographs are sharper in the middle than at the edges. When i make pictures I think of where I want the eye to move - I try to control it by using focus / contrast / B&W - even the title can work in this way.

Click to expand...

Exemplary!

Mark Hampton said:

When I looked at contact sheets I started to make pictures half and half - i found the space between images sometimes caused a tension that the single image by its self did not. My thread old work re-photographed has some images from that time.

Click to expand...

What about the angle?

Have you seen it elsewhere?

Asher

Mark Hampton said:

Asher,
....
When I looked at contact sheets I started to make pictures half and half - i found the space between images sometimes caused a tension that the single image by its self did not. My thread old work re-photographed has some images from that time.

...

Click to expand...

Hello Mark,

Indeed, splitting natural pairs can be a handy device to create interest from what would otherwise be vapor. It's unsettling, like photographing feet wearing different shoes or the wrong orientation of shoes. It's a good exercise to give to folks studying photography (and other visual studies) because although it's a cheap device it vividly illustrates one type of visual tension, as you've aptly observed.

Of-topic: Can you share the title and/or a synopsis of your doctoral thesis on Stieglitz?

Ken Tanaka said:

Hello Mark,

Indeed, splitting natural pairs can be a handy device to create interest from what would otherwise be vapor. It's unsettling, like photographing feet wearing different shoes or the wrong orientation of shoes. It's a good exercise to give to folks studying photography (and other visual studies) because although it's a cheap device it vividly illustrates one type of visual tension, as you've aptly observed.

Of-topic: Can you share the title and/or a synopsis of your doctoral thesis on Stieglitz?

Click to expand...

Ken,

are you in Glee?

http://library.gsa.ac.uk:6080/Talis...chAsText=false&openRowPathSet=0.0:0,0:0#0.0.0

Dissertation not thesis – the link has it –
Synopsis, AS made some cracking pictures and many more poor ones

Ken Tanaka said:

Hello Mark,

Indeed, splitting natural pairs can be a handy device to create interest from what would otherwise be vapor. It's unsettling, like photographing feet wearing different shoes or the wrong orientation of shoes. It's a good exercise to give to folks studying photography (and other visual studies) because although it's a cheap device it vividly illustrates one type of visual tension, as you've aptly observed.

Of-topic: Can you share the title and/or a synopsis of your doctoral thesis on Stieglitz?

Click to expand...

Ken,

You don't use words loosely. Why "cheap device" any more than "device" as in vignetting edges and corners, sharpening the center, using sepia or B&W instead of color or even slow shutter speed for creamy waterfalls? What ranks this disjointed splitting device as "cheap"? Is there a history of it being used thus, like the so-called ['url=http://digital-photography-school.com/the-orton-effect-mimicking-darkroom-processes-in-photoshop]"Orton"[/url] filter effect?

Asher

I did not intend to offend or demean Mark's work. By "cheap" I mean that it's easy, it's low-hanging fruit that's been around much longer than photography itself. Surely Mark knows this, as he remarked that he's undertaken a doctoral program in art. This is the type of stuff that's taught in most good undergrad art programs and is by no means specific to photography.

A handy photography-specific example of a "cheap device" is converting a color image to b&w. Even though it's among the lowest of low-hanging fruit this can be an effective strategically-premeditated mediation to establish the kind of surface presentation you want. But most often we see this as an act of aimless amateur discovery in an attempt to lend visual gravitas to crap.

I think Mark's division of the image is just what he said it is; just a bit of whimsy for comparative sake.

But this is beginning to veer far from Mark's snapshot discussion.

Asher Kelman said:

What about the angle?

Asher

Click to expand...

The line moved to an angle when I started putting more works together it changes in relation to what I am working on - some images don’t have it - some will in one existence and won’t in another.

Asher Kelman said:

Have you seen it elsewhere?

Asher

Click to expand...

Breaking the image or plane is not new. The Steerage uses this kind of device - Rothko uses it – Frank and even Ken has used it

I just have my own reasons for doing it some link in to other works by other people and some don’t.

Thanks again Asher for taking an intreast.

Ken Tanaka said:

Mark knows this, as he remarked that he's undertaken a doctoral program in art. .

Click to expand...

Ken,

A BA Hons in not a Doctoral program in Art and I have never stated that anywhere, search all the threads. Must be lost in translation.

Are you in Glee?

Mark Hampton said:

Breaking the image or plane is not new. The Steerage uses this kind of device - Rothko uses it – Frank and even Ken has used it

Click to expand...

You betcha! I'll use any cheap trick I can get! There are countless ways to organize and divide an image. Some are obvious, while some are not. Some are just plain fun.

Mark Hampton said:

Ken,

are you in Glee?

Click to expand...

Unless you refer to a state of joyful rapture, nope.

Re: dissertation, my cultural mistake. Here in the U.S. the term "dissertation" is most commonly used in reference to a doctoral thesis, while "thesis" commonly references work toward a master's degree. But, of course, they're interchangeable. Ooops.

For some reason your link is leading to just a blank page, Mark.

Ken Tanaka said:

For some reason your link is leading to just a blank page, Mark.

Click to expand...

Ken,

http://library.gsa.ac.uk:6080/Talis...nid=A89BE76CA637B4980A8BB4FFCF288085.worker1?

type in my name for artist and the link to the work is there ... To read it you must visit the Library in Glasgow - if you do gee me a shout and we can go to the Uisge Beatha
you can stand me a drink !

And no I dont have a copy it was written 15 years ago on a Amiga.

So your not in Glee - I was sure this was you

You have not realy said much in realtion to the photay - colour or B&W / split unsplit - tonailiy hard or soft ?

Nope, I still get nothing from your link. It's not important, so please don't spend too much time unraveling it.

Ha, a character with my name!

Re: your image, I really don't know that I've much to offer. It's a cute little boy (your son?) caught at a cute moment for a nice family memento. But beyond that, my opinion is that it's becoming far, far overworked.

The general rule of (my) thumb: when you're devoting more time to massaging an image than you invested in planning and capturing it you're heading way off the balance curve and in jeopardy of wandering into that "gravitas" comment I made earlier.

Ken Tanaka said:

Nope, I still get nothing from your link. It's not important, so please don't spend too much time unraveling it.

Ha, a character with my name!

Re: your image, I really don't know that I've much to offer. It's a cute little boy (your son?) caught at a cute moment for a nice family memento. But beyond that, my opinion is that it's becoming far, far overworked.

The general rule of (my) thumb: when you're devoting more time to massaging an image than you invested in planning and capturing it you're heading way off the balance curve and in jeopardy of wandering into that "" comment I made earlier.

Click to expand...

Cheers for the input Ken,

My thumb going by your measure must be metres long.... so I still have a way to go on this work... again thanks for the constructive and more than generous input..

I am glad I have a couple of years more working on this one image on this before I meander into your snap shot way of working.

You are in Glee, man I can tell

This is almost haunting-
I like the tinge of blue
and
I know this is not contrived-a book cover for " almost'


Charlotte-

charlotte thompson said:

This is almost haunting-
I like the tinge of blue
and
I know this is not contrived-a book cover for " almost'


Charlotte-

Click to expand...

Charlotte,

you have a child.. when they hold someone’s gaze... they seem to look into them... some people find it uncomfortable.. they laugh or stare back... these are moments when the mask slips...

thanks for looking