Certainly an excellent example. I'm looking at this image and trying to visualize it in color, how weird is that? My eye keeps going to the extension of the steel girders, the shadow on the brick wall. I'm guessing here, but you probably wouldn't have the illusion of another part of the 'plex if it were in color? What am I not seeing, or what should I see?
jacko wrote:
Certainly an excellent example. I'm looking at this image and trying to visualize it in color, how weird is that? My eye keeps going to the extension of the steel girders, the shadow on the brick wall. I'm guessing here, but you probably wouldn't have the illusion of another part of the 'plex if it were in color? What am I not seeing, or what should I see?
Well, the illusion is certainly there in the color image, which powerfully moves your eye to the construction, and there is the multiplex The composition of this image is so strong it almost hurts I've sat here staring at it for some time, going back and forth between the two, then asked my wife to come and look at it (I guess to 'help' me ) It is quite powerful in it's own right. Is this what led you into the monochrome image? Any other thoughts on this?
jacko wrote:
Well, the illusion is certainly there in the color image, which powerfully moves your eye to the construction, and there is the multiplex :) The composition of this image is so strong it almost hurts LOL I've sat here staring at it for some time, going back and forth between the two, then asked my wife to come and look at it (I guess to 'help' me :D ) It is quite powerful in it's own right. Is this what led you into the monochrome image? Any other thoughts on this?
Jack, the two images were actually taken weeks apart. The tree-in-the-foreground was easier, because the light was right for it a great deal of the time. I had to return to this street many times to study the construction subject, because I had to shoot over a six foot high wooden barrier (which you can't see), which limited my shooting location---and therefore the type of angle and light I wanted. The tree composition hurts because of the extreme closeness of the tree to the lens, exaggerating the size of the tree shot at 24mm. It's in your face....literally.
Jack, the two images were actually taken weeks apart. The tree-in-the-foreground was easier, because the light was right for it a great deal of the time. I had to return to this street many times to study the construction subject, because I had to shoot over a six foot high wooden barrier (which you can't see), which limited my shooting location---and therefore the type of angle and light I wanted. The tree composition hurts because of the extreme closeness of the tree to the lens, exaggerating the size of the tree shot at 24mm. It's in your face....literally.
Scott Wong
That's even more interesting. That is one of my weaknesses, in that I'll see something, and I'll not pursue it until I have what I had envisioned. The other day when I mentioned that your shots had something 'more', I think this is what I was talking about, or seeing. Probably a poor choice of words, "the composition hurts" but I meant that in a good way. Besides the compositional shapes, the colors play almost as powerful a role, the foreground tree to sky to building, and they too are 'in your face'. Superbly powerful. And then, you go to the 'abstractness' of the monochrome image, which is a study in itself. Thanks so much for sharing this. I really appreciate your patience!
jacko wrote:
That's even more interesting. That is one of my weaknesses, in that I'll see something, and I'll not pursue it until I have what I had envisioned. The other day when I mentioned that your shots had something 'more', I think this is what I was talking about, or seeing. Probably a poor choice of words, "the composition hurts" but I meant that in a good way. Besides the compositional shapes, the colors play almost as powerful a role, the foreground tree to sky to building, and they too are 'in your face'. Superbly powerful. And then, you go to the 'abstractness' of the monochrome image, which is a study in itself. Thanks so much for sharing this. I really appreciate your patience!
When using the two element strategy, the background element has importance eual to the froeground element---as is true in the second picture. BTW, Jack---this flap about the new Canon and all the angst it's created among our Nikon Board regulars---has relevancy to the point I was making about full-frame awhile ago.You know, the thread that required aspirin therapy.
To me it is so ridiculous. People are so caught up in having the latest equipment, when most don't even know what they're doing photographically.
It's kind of like the person that thinks money will satisfy the soul, then when they've accumulated much wealth, their soul is still empty....the latest gear truly will not satisfy without photographic craft, passion, or creativity. Even with the fine camera that I have, my images can still be just as soulless and empty as they were with my 'old' camera, or any camera. Of course, people tell me to shut up, they say "well, you can say that because you have the latest from Nikon". So I guess I can't really say too much
Excuse me Scott for interrupting this thread but I had to make a quick comment. I've been following your photography for quite some time now and I just have to say your skills have grown and I've grown to like it. You have an eye for making the ordinary interesting by isolating them from their surroundings. While I recognize the objects you photograph you see things before pressing the shutter that I don't. I admire that ability. As Jack aptly put it, they have soul. I agree with you guys entirely that it's not the equipment that makes the photograph. Keep up the good work and keep posting.
jacko wrote:
It's kind of like the person that thinks money will satisfy the soul, then when they've accumulated much wealth, their soul is still empty....the latest gear truly will not satisfy without photographic craft, passion, or creativity. Even with the fine camera that I have, my images can still be just as soulless and empty as they were with my 'old' camera, or any camera. Of course, people tell me to shut up, they say "well, you can say that because you have the latest from Nikon". So I guess I can't really say too much :)
Jack
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Jack, I'll be honest with you. When I was walking to work yesterday, I realized that I may have put my foot in my mouth with my latter comment---and that it would be taken the wrong way. I do want you to know, that I was not referring to you. No aspirin is required this time....:-)
Jack, I'll be honest with you. When I was walking to work yesterday, I realized that I may have put my foot in my mouth with my latter comment---and that it would be taken the wrong way. I do want you to know, that I was not referring to you. No aspirin is required this time....:-)
Scott
No, I didn't take it that way. I'm taking the aspirin regularly though :-) I will say this though, I don't think I've ever enjoyed photography as much as I am now, and even though the equipment is an integral part, I finally feel like I'm exploring again. I've gone through such a period of 'blindness' and the scales are falling off. Have camera, will shoot.
jacko wrote:
I will say this though, I don't think I've ever enjoyed photography as much as I am now, and even though the equipment is an integral part, I finally feel like I'm exploring again. I've gone through such a period of 'blindness' and the scales are falling off. Have camera, will shoot.
Jack, that is so gratifying to hear, because I feel that same way every day when I take my cameras out. Every time is an adventure of exploration, allright. Photography's greatest aspect is the mental part, the artistic part.
The composition of this image is so strong it almost hurts 
I've sat here staring at it for some time, going back and forth between the two, then asked my wife to come and look at it (I guess to 'help' me 
) It is quite powerful in it's own right. Is this what led you into the monochrome image? Any other thoughts on this?