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| p.1 #2 · Composition by content and exclusion |
Not that it mitigates the issue of being in the path of the light and casting a shadow, but tripod, timer and "run" (or duck/lay down) my shadow out of the frame has been a mainstay for me.
Of course, that is most effective when the tripod/camera height is not casting its own shadow into the frame, but it's my typical strategy @ avoidance. But when faced with non-avoidance (kinda like shooting spherical chrome and the camera reflection showing up), my experience is that cropping obviously has the most success at making it so the viewer never knew you were there, but it changes your comp.
That being said, if you PLAN for the crop by shooting a bit wider view, you can have you shadow out of the cropped scene. I realize that in the case of use foreshortening technique and relative scale/balance, even this changes things a bit due to the different shooting perspective, but it can be an effective strategy at times.
Good cloning is probably easier to "match" with organic subject matter where the viewer "doesn't detect" the clone as readily. Lightening is probably the toughest. I've had the most success with lightening when working with shadows and only desiring to lighten them vs. remove them. This works best for me when the shadow is "natural" to the scene and it is an issue of "reduction" rather than "elimination" to reduce the pull of the contrast from it. (i.e. Horseshoe Bend shadows)
Of course, a shadow from me & my tripod/camera are anything but "natural" to the scene. Ramblings behind me, you've done a pretty good job with the shadow in the first one ... I had to look for it to find it, even knowing it was supposed to be there.
Shifting to comp ... I prefer the second one, mostly because I'm a foreground junkie and the first one has leading lines that take you "out" of the frame vs. "in" to the frame.
Not sure if you could have shot the first one from the other side of the fence to get a comp you like, but you could have had your shadow on the same side of the fence as the fence shadow. Then it becomes less "unnatural" to the viewer as it doesn't "tell" on itself as much, since the viewer already expects shadows being cast from the fence. The problem becomes amplified when your shadow is cast in an area that the viewer expects none to be cast.