Ken,Using the diagonal lends the image some dynamism, particularly as the direction of "travel" is upper corner to lower corner. Good example of the frame's space "telling a story", of sorts, but actually being mostly empty. (Are you reading this Tom Robbins and Asher?)
Peripherally, the shape and texture of the thing is strongly reminiscent of a small, wet, dead bird. As such it immediately forces the viewer to first look closely at that lower corner to discover that it's not a bird. Then we pull back to see the turbulence trail. It's a good lesson in how a viewer's experience with an image can be managed using referential shapes and texture fields. Readers wanting to become more than casual bulls-eye snap-shooters should keep this image in mind as it presents a very good lesson example.
Very good. William. Using the diagonal lends the image some dynamism, particularly as the direction of "travel" is upper corner to lower corner. Good example of the frame's space "telling a story", of sorts, but actually being mostly empty. (Are you reading this Tom Robbins and Asher?)
Peripherally, the shape and texture of the thing is strongly reminiscent of a small, wet, dead bird. As such it immediately forces the viewer to first look closely at that lower corner to discover that it's not a bird. Then we pull back to see the turbulence trail. It's a good lesson in how a viewer's experience with an image can be managed using referential shapes and texture fields. Readers wanting to become more than casual bulls-eye snap-shooters should keep this image in mind as it presents a very good lesson example.
Well done, William. Bravo!
Very good. William. Using the diagonal lends the image some dynamism, particularly as the direction of "travel" is upper corner to lower corner. Good example of the frame's space "telling a story", of sorts, but actually being mostly empty. (Are you reading this Tom Robbins and Asher?)
Peripherally, the shape and texture of the thing is strongly reminiscent of a small, wet, dead bird. As such it immediately forces the viewer to first look closely at that lower corner to discover that it's not a bird. Then we pull back to see the turbulence trail. It's a good lesson in how a viewer's experience with an image can be managed using referential shapes and texture fields. Readers wanting to become more than casual bulls-eye snap-shooters should keep this image in mind as it presents a very good lesson example.
Well done, William. Bravo!
Hi William
I agree with all posters here and specially with Ken (kinda habit!), one thing though, is this a crop or a full frame?
I ask to understand if the composition was made early when framing or went when you developped the image…
Well done Ken!
You have certainly removed a lot I might say, but not in that particular and well crafted way. Having agreed on the areas, patterns, texture and open space, there's a little more I'd ask for. There's more sand with the beginning of the disturbance in the surface and in the end there is more undisturbed sand that could be shown with benefit at the lower right. Use of this extra area might be worth considering in such a picture.
Still, just as it is, it's a good lesson in distinguishing the thoughtfully made picture from the snap. How many folk walked by this and had no idea what was beneath there feet?
asher
My choice of the declivity from left upper to right lower was just as you say, for dynamics. I simply found it more meteoric. (Probably from being right handed and loving the science of tracking a baseball's arc to right field for a natural catch.) ....
Indeed. It would be curiously interesting to know if there's a relationship between upper-left-to-lower-right compositions and right-handedness and/or cultures whose written language is also oriented as such.
There's more sand with the beginning of the disturbance in the surface and in the end there is more undisturbed sand that could be shown with benefit at the lower right.
I really don't know why, but this sentence let me think to the Pink FLoyd song…
Daddy's home cross the Ocean.
Leaving just a memory.
The snapshot in the Family album.
Daddy what else did you leave for me?
Damn It! What did you leave behind for me?
All in all it was just a brick in the wall.
All in all it was all just bricks in the wall.
We don't need no education.
We don't need no thought control.
No dark sarcasm in the classroom.
Teacher leave the kids alone.
Hey, teacher leave the kids alone!
All in all it's just another brick in the wall.
All in all you're just another brick in the wall
We don't need no education.
We don't need no thought control.
No dark sarcasm in the classroom.
Teachers leave those kids alone.
Hey, Teacher leave those kids alone!
All in all you're just another brick in the wall.
All in all you're just another brick in the wall.
LoL? LoL!
William
The sand/water confusion caught me at first view and until I understood the way the water wraps over the leaf did not appear quite right. Now of course it is clear and this stands as a powerful image.
Thanks
Mike