High Pressure Low Light

Not sure which orientation I like more, but interesting to see these pipes across and suspended,
its pretty rare I guess for them to be like that.

Hello David; I've only a minute to jot a note. I know you've not asked for comment so please ignore mine if they're not useful to you.

You're on to something here. But in my opinion you're close. In my opinion the potential strength of this scene lies in the geometry and varied tonalities of the parallel lines. The light fixtures and trees might seem interesting in-person but they diminish the image to my eyes.

Explore, explore.

I agree completely with Ken's assessment.

Could you share some of the exif data?

Agree. The second works better for me because of the loss of some of the buildings at the left side of the frame. The pipes tonality and colour is great.

Mike

Making the Extraodinary!

David Sommars said:

Not sure which orientation I like more, but interesting to see these pipes across and suspended,
its pretty rare I guess for them to be like that.

Click to expand...

Hi David,

You have discovered a remarkable set of forms. However, you found in the state it is, not as it might be. I like your premise, "Real life is about making the extraordinary come out of the ordinary"(that you use, in your signature), to push you towards the extraordinary. Let's work with this idea then! I think that this might require some brutality to darlings that you might cherish. Ken touched upon this. I'd go further.

Why must there be sky, as an example? Could you break up the image or use the patterns a the basis of a composition? I think there's much more, once one allows removal of the lights, sky and then one is faced with dark weather worn pipes moving something, we don't know what from some place else to some place different.

Even this sense of movement from place A to B can be disrupted.

There's "extraordinary" there. Maybe some ordinary needs to be removed!

Be far more desperate!

Thanks David for allowing me to explore the sweeping forms within your interesting photography.

What I'm sharing is not what should be or making some proposition that my particular view really uses your ideas to fruition. Rather this is an exercise in debauchery, enjoying the lascivious features but with no responsibility for being truthful to the way it was seen or could be observed by anyone else at that instant.




and then my derivative, using the elements but not the lights or sky.



I hope this is a stimulus for being aggressive in exploiting the wonderful sights before us and the images we might build from them, for beauty, geometry, patterns a message or not. This shouldn't mean any disrespect for reality, rather a willingness to take from it what we wish to explore further.

Asher

Mike Shimwell said:

Agree. The second works better for me because of the loss of some of the buildings at the left side of the frame. The pipes tonality and colour is great.

Mike

Click to expand...

I agree with both of you !! I don't know if it's possible to trim the left though. From the path you stand on the pipes curve overhead to the point that you'd have to cut the tree in half to minimize the surroundings. That's frustrating, but you've gotten me thinking to go back and explore more angles sometime definately, thanks for sharing, I wouldn't have though to go back so soon if it weren't for that.

Asher Kelman said:

Thanks David for allowing me to explore the sweeping forms within your interesting photography.

What I'm sharing is not what should be or making some proposition that my particular view really uses your ideas to fruition. Rather this is an exercise in debauchery, enjoying the lascivious features but with no responsibility for being truthful to the way it was seen or could be observed by anyone else at that instant.

Click to expand...

and then my derivative, using the elements but not the lights or sky.



I hope this is a stimulus for being aggressive in exploiting the wonderful sights before us and the images we might build from them, for beauty, geometry, patterns a message or not. This shouldn't mean any disrespect for reality, rather a willingness to take from it what we wish to explore further.

Asher[/QUOTE]


Interesting !! I dont mind at all. Your still making extraordinary from ordinary !!
Its not my method of choice, but who cares, I kinda like it. Im gonna go back and try my hand at maybe putting the camera 1 foot off the ground and shooting up into the pipes sometime soon, itll be minimal and rusty.

Cross your fingers that I don't end up with FBI on my doorstep yet again, for being "suspicious". LOL , Its pretty sad that should even be a mental factor in night photography nowadays, but meh.....

Rachel Foster said:

I agree completely with Ken's assessment.

Could you share some of the exif data?

Click to expand...

#1 is F6.3 @30secs iso 100 @17mm on a 1.6X


#2 is F13 @174 secs iso 100 @17mm on a 1.6X