Night Photography: feedback and discussion requested

[doug anderson]

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This is the first of a sequence of night shots. Often, when I process, I see what I didn't see when I took the shot, which becomes a composition problem.

 

[Asher Kelman]

Doug,

Your night pictures wonderfully show what I've felt for a long time. Digital photography of scenes with shadows and bright areas, allows us to see through imaging what we could never learn from just looking with the unaided eye. So for this category of photography, one benefits from being open minded and not expecting the picture is even composed until one starts at the computer screen.

This is the first of a sequence of night shots. Often, when I process, I see what I didn't see when I took the shot, which becomes a composition problem.

Great pictures so far and a lot of fun! I'll wager you can make many variants from each of them, simply by enhancing or suppressing different features.

So, is this it with them? Or could you consider making new versions of some of them where your fancy might be sparked by a new idea you have?

The pictures all work as they are. I'm just offering that you have gathered a hell of a lot of raw material for many new presentations you could not have thought of previously.

Good luck! I've written more on this challenge here

Asher

 

[doug anderson]

Thanks, Asher. Yes, I plan other versions, but I'm a bit cautious about cropping -- would prefer to get it right the first time (or the second or third etc.).

 

[Asher Kelman]

Thanks, Asher. Yes, I plan other versions, but I'm a bit cautious about cropping -- would prefer to get it right the first time (or the second or third etc.).

You're not being hired by a client! Post production costs are not an issue, but your vision likely as not is. There may well be a wonderful time, (like for the wedding photographer or many other pros), when you'll routinely shoot and print as framed! But why now? You really don't need to limit yourself today. Exact framing? Separately, as an exercise, (probably, we all should), go to still life or figure drawing classes for peace of mind and to gain in compositing and feelings. Then, do still life of objects by the window at home or with studio lights.

But right now, for the urban and rural landscape shots you put your heart into, I'll bet that "exact" framing is as likely to restrict you, as to bring perfection "first time out". Your freedom can extend for you these choices, until you sit before the computer. You get time to devote all your imagination anew to what you'll discover.

Before you know it, these two styles of work may fuse and you could very be framing exactly as the print demands. But for now, allow yourself more material do come home with. I say because I believe in your quest and your ability to level out this parameter of choice, later on in your journey. But you'd have picked up skills and preferences that will prepare you for such precise, (and early exclusion of what's needed), to make a work that will have air in its nostrils, a will of its own and a life beyond you own.

These ideas, once again are no prescription for success. I'm no guru who know how to make masterpieces never mind confer this on you. I just feel that they are worthy of consideration when one's journey is beginning. Still, on the way, any hints given to you by the likes of Bart, Cem, Jerome, Maggie, Nigel or Nicolas, (just to name a few), treat as gifts and put in your backpack, as they are more valuable than you might imagine. But no advice from, us, the other travelers, suffice for you to succeed. The other necessary ingredients are your self-worth, openness to new experience and stamina, (and talent to be earned), as you discover what you cannot do and how to circumvent that block.

Right now, a real cardboard box with the 12 current best actual prints is needed for you to refer to be in constant touch with your nascent style and developing purpose.

Asher

 

[nicolas claris]

]

This is the first of a sequence of night shots. Often, when I process, I see what I didn't see when I took the shot, which becomes a composition problem.

Hi Doug
Interesting and powerful.

When I do night photography (HDR or not), and I do a lot, a simple trick: if I can't see the scape to frame, I first shoot an overexposed file so I can adjust the framing of the scene (I always do with tripod for evident reasons of stability…

 

[Maggie Terlecki]

Doug,

Please do not take this as disrespectful, as it is not meant that way, but I see you posting many images with some interesting subject matter but not sure if you are getting what you are attempting to achieve.

I've noticed when looking at your images, not just this series, but all of them, that you tend (although not exclusively) to strongly place your subject matter in the middle of your photo and oftentimes have lots of foreground that doesn't necessarily add to the scene.

I compose in camera when taking the shot. Now I'm not saying you need to shoot like I do, but a few suggestions for you to try.

-- Shooting your subject a little lower in the scene will help if nothing is important or needed in the foreground will help ground it better. Sometimes we need a lot of foreground to show how far away something is or how majestic or as a way of leading your eye down a long road etc, but other times, it may take away from what you are trying to say.
--composing to create mood. I tend to like to shoot empty benches. Now normally, if I were following rules, I would turn the bench either on the left or right with space for someone to sit, but I like to show them as being sad and lonely, so I do the opposite, I turn them away from the interior, looking out and use foliage etc., to fill in that extra space. So think about what you are trying to say. When I looked at your photos of the colored chairs, I couldn't help thinking, geez, I would have tried to take this picture from behind some foliage or a tree to give that sense of discovery of finding this little place in the woods that was so unexpected.
--look for leading lines when composing. Something to make our eyes follow that brings us to the subject and not out of the image. It doesn't have to be an object, it can be shadows, color, a path or some sort.
--look for distracting items in view and move around to exclude them or use a different aperture so they are not as distinct.
--shooting centrally is also good but when you take that picture, wonder if another position in the frame may be more interesting. Sometimes in the middle is the way to go, but if you are shooting digital, try more shots and something different. Train your eye to move around and look for different perspectives to bring a fresh way of seeing your subject matter.
--When taking the picture, think about what story you are trying to tell. I'm sure you are wanting to show more than just oh, look at this cool subject matter I found, but that we look at it and see more than this is just an old truck, for example. What compelled you to take the photo? The cool looking rust?... bring that texture to us, make us see the crustiness of it and taste the rusted iron in our mouths.
--and don't worry about cropping. It will help you develop your eye to what you like and what you don't and what works and what doesn't. You would never crop away your original file, so play and find the magic you have inside.
--

 

[Jonny Carroll]

I would say, to avoid "night" and shoot for twilight. It can make a world of difference. Right after the sun has set is the best time for night shots. When there's just a little bit of light and color in the sky.

 

[Richard Rives]

The night time photos you took are outstanding. You can even see the detail in the snow bank. I applaud you for awesome photography work.
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