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Cobblestone road

John Angulat

pro member
Hi all,
This is a 5 exposure HDR (Photomatix), editing and color to B&W in PS.
Nikon D200, 28mm, ISO100, f/16 bracketed +/- 2.
Comments and criticisms always help one learn, so please do.

angulatX002.jpg
 

Doug Kerr

Well-known member
Hi, John,

That is very nice. I think it works well.

If I would make any suggestion, it would be to slightly "tame" that patch of blown sky at the upper right. It catches the eye a bit too much merely by virtue of its luminance.
 

Asher Kelman

OPF Owner/Editor-in-Chief
Building a Black and White Photograph in sections for tone, detail and composition.

Hi all,
This is a 5 exposure HDR (Photomatix), editing and color to B&W in PS.
Nikon D200, 28mm, ISO100, f/16 bracketed +/- 2.
Comments and criticisms always help one learn, so please do.


angulatX002.jpg



Hi John,

This is a great image for B&W. I personally have no qualms against adding sky from another picture you took there, even on another day! I believe seeing through the lens is only part of the art of photography. The mind is also an image maker and what we show does not have to be limited by what the camera sees in this kind of photograph. That's if you don't mind departing from what is to what you really see in your minds eye. The first, a factive POV, is one thing but in reality most collected photographs are fictive too.

In this case, the HDR has not done full justice to the several leaves to the left lower edge separated from a sole dark leaf in the foreground, all rendered the same as the stone. The leaves by the wall are not distinguished. Also the demanding unique physicality of each cobblestone and the wall are still latent, ready to be exposed in all their beauty.

The camera has no idea of relevance. Nor does Photomatix. The uniform designation of how tonalities will be distriubuted is fine for post cards, perhaps, but here we want to invite the viewer into every nook and cranny of your photograph. It's unacceptable and sad for the picture to be taken in with just a glance. Imagine the Geisha girl who did a bow, gave you a smile and was gone!

Potentially absorbing elements in B&W, work because their character is celebrated. So they need to be thoughtfully ranked and then worked on by isolating them and using separate curves, dodge and burn and their own extent of sharpening. This, after all is what Ansel Adams was actually doing the weeks in the darkroom after he brought the film home!

I hope my feedback is not too far away from what impressed you the most at the time when you recorded this great scene. I may be off mark entirely but then by brain is programmed in England, LOL!

Asher :)
 
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Jim Galli

Member
I have a question about the 5 exposures. To get the best local contrast in the cobblestones you still seem to have had to compromise the detail in the leaves of the trees. Lots of blank black up there. I don't think you quite got all of your cake and eat it too. Maybe you could process one set of 5 for the leaves and another set of 5 for the stones and then sew them together in Pshop?
 

Asher Kelman

OPF Owner/Editor-in-Chief
I have a question about the 5 exposures. To get the best local contrast in the cobblestones you still seem to have had to compromise the detail in the leaves of the trees. Lots of blank black up there. I don't think you quite got all of your cake and eat it too. Maybe you could process one set of 5 for the leaves and another set of 5 for the stones and then sew them together in Pshop?

Jim you close to nailed it! Short and to the point!

Each item must be given it's own dignity and character. No HDR has any idea what a leaf looks like!

Asher
 

oli murugavel

New member
I really love the lighting and texture on the floor... but greatly disturbed by the tree on the right corner of the frame..which made my eye movement in a very fast way around the photograph. Nice BW tone...!
 

John Angulat

pro member
Thank you, everyone...

... for your comments and critiques.
Your comments, criticisms and suggestions are what I believe makes this forum so wonderful. It also enables me to “see” my images through your eyes. Interestingly enough, that’s precisely where my shortcomings are most apparent. I am a “typical” New Yorker. I rush. I hurry. I do not stop to catch my breath. I crash headlong through life (and my photography and editing) often missing the finer important details. Each of your comments have made that apparent, and I feel I not only need to learn from those comments but to respond in a manner which indicates I’ve have learned from them.

Doug - yes I missed that patch of blown sky in the upper right. It’s too harsh relative to the overall tone of the image

Asher – Incredibly, I never took notice of the leaves in the lower left. Unfortunately, I concentrated my efforts on the cobblestones. Alas, once again “not seeing the forest for the trees”. They should have been worked upon or enhanced to bring addition character to the image. Moreover, your reference to Ansel Adams is spot-on. I approached this image as a whole, never isolating each important element and giving it the proper attention. The bush-league errors such as the overly dark wall and trees point that out.

Rachel – Thank you for your kind praise, it is much appreciated.

Jim – You are correct, I compromised the exposure. I would love to say it was for the overall good, but in all honesty it was as I said to Asher – I didn’t pay attention to detail.
Your suggestion provides the image greater merit, but is very difficult technically. I cheated the image by taking the easy path – laziness.

Oli – I have to admit I see what you are referring to but I am at a loss to provide a solution or alternative. The angle of the tree extends over the right side wall. Had I cropped to eliminate, I would lose the wall and the chain (which I believe are important elements). Any suggestions?
 
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