Twig in Snow

Contax 645 Medium Format Camera, 80mm kit lens. (probably) Kodak E100GX film.

Asher said in another forum that he would post some Bronica pictures if I posted some Contax pictures. I guess we can see them soon?

Any comments and criticisms welcome on this photograph. It was displayed in a group exhibition and now hangs on my wall. I'm rather fond of it but don't let that stop you from being honest.

This is a nice image, Marcus. The angle of the light and the gentle undulation and texture of the snow keep the eye interested. I can't decide whether or not the cool blue sky cast contributes to, or detracts from, the image. Both, I think. It suggests coldness but it also keeps one (visual) foot on the floor of reality and maintains a documentary quality of the image. I imagine that you've already experimented with rendering the image in b&w and have settled on this, so that's probably old news.

If you've not already done so you should make an opportunity to look at similar work by the late Harry Callahan. He created quite a number of such images during the 1940's in which he distilled a winter scene such as this down to its essence of light/dark, form/field. They are wonderful points of reference that might offer you creative guidance to move forward with working this concept.

Thank you for commenting on my photograph. I do like the strong blue colour in this photograph and that's why I didn't warm it up digitally or convert to black and white. Such things are subjective up to a point, I guess.
I looked at some of Harry Callahan's photographs on the Internet and I was very impressed. He is someone I should definitely study to improve my own photography. Thank you for directing me that way.

Ken your analysis is really helpful. Thanks for the reference too.

Here, my plea for ignoring tight framing advice of teachers, pros and professionbal gurus does not apply. I'd even venture to explore removing bold slivers to the right of the twig leaving only a 1/4" and then I'd crop the left side so that the left lower corner recieives the most lateral of the 3 oblique shadow lines. This I think increases the Eastern contemplative attributes of the photograph.

There are many equally valid but different schools of thought and approach in photography. One, for example, demands perfect framing at the time of recording the light. That is what Nicoals Claris, for example, aims to do. This is by far the most favored technic of prfessionals. In artistic projects, sometimes I, however, choose to add at least 25% to the recorded scene since it gives an opportunity to recognize elements that were not obvious before. It might be a butterfly or else a hidden geometric arrangement that we only find when not distracted by anything else or else because it is small.

Marcus, here consciously or not, you are doing just that and in this unique case, closer lateral cropping to emphasize the main geometry, at least to my senses, is worth looking at.

Asher

Thank you for the reply and advice. However, the band of white light going across the photo and the blue 'frame' of snow is also part of the composition. Although I am not always so careful, I was watching those things when I took the shot.