Three from the weekend

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Archive 2012 · Three from the weekend

Bob Jarman
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p.1 #1 · Three from the weekend

#1 Back-story: As long as I can recall, I have always been fascinated by airports and the idea of traveling. Watching planes depart I'd wish I could be on board, going to to explore a new, exotic place, each trip an adventure. I tried to capture those memories in this image, not sure if it conveys the notion or not.

#2 & #3 - lines and geometry for consideration.

All C&C appreciated.

Thanks,

Bob

Reflections
NIKON D2X 40 mm f/5.6 1/30 sec 100 ISO 0.0 EV

Threes
NIKON D2X 40 mm f/5.6 1/320 sec 100 ISO 0.0 EV

Up and Down
NIKON D2X 17 mm f/4.5 1/25 sec 400 ISO 0.0 EV

Edited on Feb 08, 2012 at 12:57 AM · View previous versions

Feb 08, 2012 at 12:06 AM

RustyBug

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p.1 #2 · Three from the weekend

Bob Jarman wrote:
#1 Back-story: As long as I can recall, I have always been fascinated by airports and the idea of traveling. Watching planes depart I'd wish I could be on broad, going to to explore a new, exotic place, each trip an adventure. I tried to capture those memories in this image, not sure if it conveys the notion or not.

#2 & #3 - lines and geometry for consideration.

All C&C appreciated.

Thanks,

Bob

Diggin all three for different reasons ... #3 being my fav.

BTW ... is that a Freudian slip or just a typo?

Feb 08, 2012 at 12:49 AM

Bob Jarman
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p.1 #3 · Three from the weekend

Typo - you ARE bad

Feb 08, 2012 at 12:56 AM

sbeme

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p.1 #4 · Three from the weekend

Each well-processed and I like the BW and toning choices you have made.
1. I like the mood here. Interesting use of reflection.
2. This is my kind of thing. Simple, clean geometries, perfect use on diagonals, interesting series of textures, and I love that the lower right corner textures are softly out of focus, more abstract.
3. Another "my kind of thing". Really making great use of the architectural features with a finely tuned comp playing all the verticals and diagonals just right. The deep vertical bands on the left continue the framing but offer up the interest of the elevators as well. A fine image!
Really like these, Bob. Really!
Scott

Feb 08, 2012 at 12:57 AM

AuntiPode

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p.1 #5 · Three from the weekend

I like these images, but in the first her gaze leads me out of the frame to the left away from the reflected planes. I know intellectually she's looking at the planes, but to me it has the feel, intuitively, that she's turning her back on them. The second and third have nicely done geometrics.

Feb 08, 2012 at 01:23 AM

Kaden K.
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p.1 #6 · Three from the weekend

These are nice Bob. I like #1 best.

Feb 08, 2012 at 04:04 AM

cgardner
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p.1 #7 · Three from the weekend

Nice captures. All three have what I assume are intentionally underexposed highlights which work to give them a dull muted vibe. Below for comparison are more "normalized" tonal range renderings.

This image is copyrighted by the owner

In your original it's immediately obvious she is behind a window. Making her face look more normal creates more of a delayed reaction, double take to connect the dots between the seemly normal face and the other reflection clues.

This image is copyrighted by the owner

Here I saw using my normal Opt/click Levels check the brightest areas were about 1-stop below clipping so I just make a Levels correction to bring them up to just below clipping. I changed output in shadows to 10 to make them lighter, which in contrast to the 0,0,0 mat creates the illusion they have more detail than they actually do because the brain equates 10,10, 10 gray tone = detail if the there is a 0,0,0 black border to establish the tonal range in the FOV. That's way black borders work better than white on photos with interesting detail in the shadows at the threshold of the sensor range at capture.

In the third I'd suggest selectively lightening the elevators to draw more attention to them as a way to create more balance between left and right sides.

Feb 08, 2012 at 02:02 PM

Bob Jarman
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p.1 #8 · Three from the weekend

sbeme wrote:
Each well-processed and I like the BW and toning choices you have made.
1. I like the mood here. Interesting use of reflection.
2. This is my kind of thing. Simple, clean geometries, perfect use on diagonals, interesting series of textures, and I love that the lower right corner textures are softly out of focus, more abstract.
3. Another "my kind of thing". Really making great use of the architectural features with a finely tuned comp playing all the verticals and diagonals just right. The deep vertical bands on the left continue the framing but offer up the interest of the elevators as well. A fine image!
Really like these, Bob. Really!
Scott

Thanks Scott,

Glad you like them. You may recall the first series from this location, going back for a second time permitted looking around and 'seeing' rather than being taken by the architecture.

Bob

Feb 09, 2012 at 01:14 AM

Bob Jarman
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p.1 #9 · Three from the weekend

AuntiPode wrote:
I like these images, but in the first her gaze leads me out of the frame to the left away from the reflected planes. I know intellectually she's looking at the planes, but to me it has the feel, intuitively, that she's turning her back on them. The second and third have nicely done geometrics.

Thanks Auntipode,

Agree with her (mom's) look, interesting how my experiences as a youth influences the image. And I must admit, I was not aware of the planes when capturing the image.

Regards,

Bob

Feb 09, 2012 at 01:30 AM

Bob Jarman
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p.1 #10 · Three from the weekend

Chuck,

Thanks for the reworks. The muted highlights are intentional - matches my recollection of the light/day although does not offer the full tonal range. Turn 180-degrees on the balcony and we have the location of the cloud image in a prior thread.

Regards,

Bob

Feb 09, 2012 at 01:34 AM

Bob Jarman
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p.1 #11 · Three from the weekend

Kaden K. wrote:
These are nice Bob. I like #1 best.

Kaden,

Thanks for looking and the kind compliment, in fact we can count #1 as a take away from my viewing your images and work over the years

Asked which you might prefer, I would answer #1. Sometimes old dogs require longer for the lessons to sink in.

Thanks for helping expand my vision! (But somehow I couldn't work in the lightening bolts

)

regards,

Bob

Feb 09, 2012 at 01:40 AM

AuntiPode

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p.1 #12 · Three from the weekend

The stare. The expression. The humanity. It's hard for a graphic design, no matter how well executed, to compete with evoked human emotion.

Feb 09, 2012 at 03:38 AM

Bob Jarman
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p.1 #13 · Three from the weekend

AuntiPode wrote:
The stare. The expression. The humanity. It's hard for a graphic design, no matter how well executed, to compete with evoked human emotion.

Absolutely, and framed in a different context, so too is conveying the 'sense of being there' in landscapes, a target often missed. (For me especially so with waterfalls)

Bob

Feb 09, 2012 at 12:55 PM

McDermott
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p.1 #14 · Three from the weekend

Your "reflections" pic to me says she is missing her family. Perhaps her son/daughter moved out of state, returning to their new home. She will miss them till next visit.

Mike

Feb 09, 2012 at 01:01 PM

RustyBug

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p.1 #15 · Three from the weekend

McDermott wrote:
Your "reflections" pic to me says she is missing her family. Perhaps her son/daughter moved out of state, returning to their new home. She will miss them till next visit.

Mike

Good call ... goes along well with her gaze taking us "out of the frame" ... just like her family is also "leaving the scene". One of the few instances where leading the viewer "out of the frame" works as well as it does.

Analytically ...

AuntiPode wrote:
her gaze leads me out of the frame to the left away from the reflected planes.

I was kinda in the same place, only thinking @ her and the planes as subject matter. The introduction of the family @ part of the subject, now makes the planes only environment/background clues, and it no longer seems out of place/awkward. Funny how much it depends on the viewers perspective.

I doubt Bob "analyzed" the shot this much, but rather "felt it" more intuitively ... even if he couldn't explain it at the time of capture (at least it reminds me of one of "those" kind of shots).

I knew I was kinda diggin' it ... but couldn't quite put my finger on why it was working for me. The family concept solidifies the human emotive involved here.

Again, good call.

Feb 09, 2012 at 02:46 PM

Bob Jarman
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p.1 #16 · Three from the weekend

RustyBug wrote:
McDermott wrote:
Your "reflections" pic to me says she is missing her family. Perhaps her son/daughter moved out of state, returning to their new home. She will miss them till next visit.

Mike

Good call ... goes along well with her gaze taking us "out of the frame" ... just like her family is also "leaving the scene". One of the few instances where leading the viewer "out of the frame" works as well as it does.

Analytically ...

AuntiPode wrote:
her gaze leads me out of the frame to the left away from the reflected planes.

I was kinda in the same place, only thinking @ her and the planes as subject matter. The introduction of the family @ part of the subject, now makes the planes only background clues, and it no longer seems out of place/awkward. Funny how much it depends on the viewers perspective.

I doubt Bob "analyzed" the shot this much, but rather "felt it" more intuitively ... even if he couldn't explain it at the time of capture (at least it reminds me of one of "those" kind of shots).

I knew I was kinda diggin' it ... but couldn't quite put my finger on why it was working for me. The family concept solidifies the human emotive involved here.

Again, good call.

Mike & Kent.

BINGO

Fact: we were there to see our daughter and 2 grandchildren (5mo & 3 yrs) during a layover on their flight to the Netherlands. Our daughter is on a 7 month temporary work relocation for a project located there. So indeed, family (her granddaughter and two great-grandchildren) were likely on her mind (and perhaps memories of when my family made similar trips abroad when I was preteen, and later as an adult).

They had not yet arrived - wife was over at baggage claim to meet and catch return shuttle.

Bob

Feb 09, 2012 at 03:03 PM

cgardner
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p.1 #17 · Three from the weekend

RustyBug wrote:
AuntiPode wrote:
her gaze leads me out of the frame to the left away from the reflected planes.

I was kinda in the same place, only thinking @ her and the planes as subject matter. The introduction of the family @ part of the subject, now makes the planes only environment/background clues, and it no longer seems out of place/awkward. Funny how much it depends on the viewers perspective.

The initial "wait a minute" double-take of seeing the planes behind her and realize she is at an airport, not her living room winding, is what makes the story line and "timing" of this shot work.

In composing a shot like this you can put the context of the story where the viewer must literally trip over it to get to the focal point, or as in this case hide it so the focal point is seen first then the context to explain the action at the focal point to explain why she is looking out the window.

It all comes down to guessing and trying to manipulate what in the photo the viewer sees first. We've previously had knock down / dragged out debates on whether or not placing focal point on left or right side will predict / control what is seen first, but on a dark stage the star in the spotlight always gets the most attention from the audience. That's why in my edit I intentionally made her face brighter and stronger and darkened the reflection of the planes a bit: to manipulate the viewer and make sure they saw the face and dwelled on it, before wandering off to the right to get the context of where she was and why she had the expression she does — which is still left the imagination of the viewer.

Feb 09, 2012 at 03:09 PM

RustyBug

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p.1 #18 · Three from the weekend

+1 @ drawing the eye toward her (albeit a bit bright for my taste) / away from the planes ... always "What's the point?" / "Where are you trying to take your viewer?"

This is part of why I have largely abandoned the concept of anything (other than snaps, pj or events) being complete/finished @ sooc ...i.e. the need for "finishing". We have techniques for drawing the eye through optics and perspective (selective focus, foreshortening, etc.) for "in camera" drawing, lighting for "environmental" drawing, and good ol' darkroom/PS for refinement of that which wasn't accomplished by the first two.

It's been along time since I first thought that AA was "cheating" by doing his darkroom "manipulations". These days' it's hard for me to imagine many images that don't benefit from asking/considering how it is that you want to "draw the eye" of the viewer as part of your work (both pre- & post- capture) ... whether that be "in camera", lighting or PP. Ultimately, it is the final image that you put in front of the viewer ... however you got it there ... and stopping @ "in camera" may leave many images short of the excellence they can be.

As always, S&P to taste.

Feb 09, 2012 at 04:17 PM

AuntiPode

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p.1 #19 · Three from the weekend

Only the unimaginative prefer reality.

Feb 09, 2012 at 07:12 PM

cgardner
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p.1 #20 · Three from the weekend

The biggest challenge for me in photography is trying to understand all the ways the brain processes a scene in person differently than the camera can record it.

The eyes move around a scene or photo in a series of "connect the dots" saccades (a rapid movement of the eye between fixation points) and cognitive psychology studies have determined that when making the jumps from focal point-to-focal point the brain doesn't process much information about what has been jumped over. So in that sense what the eye see isn't always what the brain tell you consciously you are seeing.

If you have any imagination you can see how that physiological / psychologic dynamic of human perception has implications for composition of photos.

Feb 09, 2012 at 09:19 PM

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