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Archive 2013 · WA543 Food
  
 
beavens
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p.1 #1 · p.1 #1 · WA543 Food


"Prepping For Lunch"

Please let me know what I can do improve the shot - thanks!




  Canon EOS 5D Mark II    EF24-70mm f/2.8L USM lens    43mm    f/4.0    1/50s    200 ISO    0.0 EV  




Mar 03, 2013 at 09:37 PM
RustyBug
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p.1 #2 · p.1 #2 · WA543 Food


Other than my usual nit at WB with blue snow (blue knife), the small specular highlight in the back right catches my attention.
The chair rail in the BG shows a tilt as well.

But, overall ... I like it on several fronts.

BTW, I haven't come up with a thought on the WA for myself yet, but you're giving me a touch of inspiration to get off my duff and do something.




Mar 03, 2013 at 09:50 PM
Skarkowtsky
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p.1 #3 · p.1 #3 · WA543 Food


You're giving both elements too much emphasis. Decide what should tell the story, the knife, or the end result: the recently diced fresh vegetable.

This doesn't mean the knife should not be in the composition, but rather that it shouldn't exceed its secondary role.



Mar 03, 2013 at 09:53 PM
beavens
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p.1 #4 · p.1 #4 · WA543 Food


Slightly more cropped, but I still think the knife will be strongly featured any way I slice this one.

WB tweaked as well.




  Canon EOS 5D Mark II    EF24-70mm f/2.8L USM lens    43mm    f/4.0    1/50s    200 ISO    0.0 EV  




Mar 03, 2013 at 10:04 PM
sbeme
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p.1 #5 · p.1 #5 · WA543 Food


I agree with suggestions above.
I prefer the second crop, although the tilt is still noticeable at the left edge of the table and the chair rail.
Knife still is a bit blue? (didnt formally check out the RGB values). More so at the tip.
I think the shallow DOF and lack of highlight detail in the mushrooms is hurting the image. I like the arrangement and the lines formed by the mushroom to avocado, knife across the tomato
Scott



Mar 03, 2013 at 11:27 PM
AuntiPode
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p.1 #6 · p.1 #6 · WA543 Food


In terms of composition, the eye tends to follow the converging lines of a knife, the angle of the sliced mushrooms and the inner edge of the sliced stalks. They converge at the tip of the knife and the somewhat out of focus avocado skin - no visual payoff the the trip.


Mar 03, 2013 at 11:31 PM
beavens
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p.1 #7 · p.1 #7 · WA543 Food


sbeme wrote:
I agree with suggestions above.
I prefer the second crop, although the tilt is still noticeable at the left edge of the table and the chair rail.
Knife still is a bit blue? (didnt formally check out the RGB values). More so at the tip.
I think the shallow DOF and lack of highlight detail in the mushrooms is hurting the image. I like the arrangement and the lines formed by the mushroom to avocado, knife across the tomato
Scott


I'm thinking the blue is because of the steel.

Forgot to address the tilt, but that's taken care of now.

Definitely agree that the DOF and shrooms being blurry are doing it shot no favors. I should have pushed the ISO and moved up a couple stops to get a more "complete"shot.

Aunti - thanks for the feedback. I'm going to have to say that true composition is definitely one of my weaker areas.






  Canon EOS 5D Mark II    EF24-70mm f/2.8L USM lens    43mm    f/4.0    1/50s    200 ISO    0.0 EV  




Mar 04, 2013 at 12:39 AM
beavens
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p.1 #8 · p.1 #8 · WA543 Food


Some other iterations:




  Canon EOS 5D Mark II    EF24-70mm f/2.8L USM lens    70mm    f/2.8    1/60s    400 ISO    0.0 EV  






  Canon EOS 5D Mark II    EF24-70mm f/2.8L USM lens    24mm    f/4.0    1/50s    400 ISO    0.0 EV  






  Canon EOS 5D Mark II    EF24-70mm f/2.8L USM lens    38mm    f/4.0    1/80s    400 ISO    0.0 EV  






  Canon EOS 5D Mark II    EF24-70mm f/2.8L USM lens    34mm    f/4.0    1/50s    400 ISO    0.0 EV  




Mar 04, 2013 at 01:15 AM
gpchase
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p.1 #9 · p.1 #9 · WA543 Food


I like it but think the knife is not resting in a natural position...it gives the impression the scene is propped (as it is)...so the first thing I think is "how is that knife standing on it's own?"


Mar 04, 2013 at 02:01 AM
gpchase
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p.1 #10 · p.1 #10 · WA543 Food


I like it but think the knife is not resting in a natural position...it gives the impression the scene is propped (as it is)...so the first thing I think is "how is that knife standing on it's own?"


Mar 04, 2013 at 02:01 AM
 

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beavens
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p.1 #11 · p.1 #11 · WA543 Food


gpchase wrote:
I like it but think the knife is not resting in a natural position...it gives the impression the scene is propped (as it is)...so the first thing I think is "how is that knife standing on it's own?"


It's actually just laying against the tomato.



Mar 04, 2013 at 03:10 AM
gpchase
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p.1 #12 · p.1 #12 · WA543 Food


yup I understand...it's just my .02 that's all


Mar 04, 2013 at 03:23 AM
beavens
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p.1 #13 · p.1 #13 · WA543 Food


Don't get me wrong - I appreciate your comments!


Mar 04, 2013 at 03:24 AM
gpchase
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p.1 #14 · p.1 #14 · WA543 Food


My take is it really high lights the knife rather than the food and that's okay too...would work well as a knife promo


Mar 04, 2013 at 03:33 AM
RustyBug
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p.1 #15 · p.1 #15 · WA543 Food



beavens wrote:
I'm thinking the blue is because of the steel.


In the other iterations ...

As to the blue, compare the knife in the first version vs. the others. You can clearly see a distinct color difference. The knife didn't change colors, only the angle of the knife changed the light that it is reflecting. Also, in the first version, the avocado can be seen reflecting the blue highlight as well as the curved spine of the blade.


Edited on Mar 04, 2013 at 01:47 PM · View previous versions



Mar 04, 2013 at 01:44 PM
beavens
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p.1 #16 · p.1 #16 · WA543 Food


RustyBug wrote:
As to the blue, compare the knife in the first version vs. the others. You can clearly see a distinct color difference. The knife didn't change colors, only the angle of the knife changed the light that it is reflecting. Also, in the first version, the avocado can be seen reflecting the blue highlight as well.


Thanks, Rusty - I increased the temp a tad (anything more made everything too warm IMO).



Mar 04, 2013 at 01:46 PM
RustyBug
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p.1 #17 · p.1 #17 · WA543 Food


Gotcha at global temperature needing to address the overall lighting as it is a mixed lighting scenario. The blue needing to be contended with on a selective basis via channels, selective color, saturation or other means rather than it dictating your WB for the scene. Just something to be aware of that often goes unnoticed.


Mar 04, 2013 at 01:57 PM
beavens
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p.1 #18 · p.1 #18 · WA543 Food


RustyBug wrote:
Gotcha at global temperature needing to address the overall lighting as it is a mixed lighting scenario. The blue needing to be contended with on a selective basis via channels, selective color, saturation or other means rather than it dictating your WB for the scene. Just something to be aware of that often goes unnoticed.


Forgive my ignorance, but are you implying that there are multiple light sources involved?

Truth - I could have altered just the blue channel!

It's certainly a learning process.



Mar 04, 2013 at 01:58 PM
RustyBug
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p.1 #19 · p.1 #19 · WA543 Food


It can be kind of hard to get your head around ... and most people will think I'm whack as it isn't something they've heard advocated elsewhere.

I'm suggesting that the WB from ambient sunlight is the gradient combination of the warm/cool. The "white" sunlight gets separated by the atmosphere in a gradient range from warm to cool (somewhat like a spherical a prism if you will). When our subject receives light from all of that range simultaneously, it is receiving a re-assembly of the warm & cool back into white ... i.e. daylight balance.

When we take pictures in the shade, the warm direct sunlight is being blocked and only the cool overhead sky is available to illuminate our subject, thus our WB is cool. Conversely, during the "golden hour" when our subject is being sidelit from the direct warm light, our sidelit subject is not reflecting the illumination from the overhead sky and our WB is warm.

Thus warm + cool = neutral. This can be seen as Cyan (BG) + Red or Blue + Yellow (RG) if you will.

In many instances, the separation of the warm & cool are reassembled into an homogenous blend of the two and we accept it as a single color of light. However, in the case of your knife, we have a scenario where the diffuse light presents that reassembling of warm & cool, yet the angle of the knife and its subsequent AI=AR is reflecting a particular portion of the overhead sky. That particular portion of the sky is absent of the warm light contribution to the overall homogenized WB.

This can be evidenced by how the changes in the knife's angle changes the color of the knife, while the unchanged items in the scene remain the same. Only the knife is changing color, because it is reflecting a different color of light that is illuminating it. This can even be seen within the same image with the changing color of the knife's spine.

It isn't quite as though you have two different light sources as we would typically think of say one tungsten and one fluorescent mixture, but more of a blended gradient.

Like I said, many will think this is whack, but it is what gives us blue snow, blue hair and a myriad of other blue/cyanic tones in our neutrals. Sometimes the separation of the warm and cool works well to our advantage, i.e. a cool blue body of water reflecting the cool overhead sky. Change the angle of the reflection to include equal amounts of diffuse blue overhead and specular warm and the offset each other to a neutral and our water looks dull gray. Change the angle even further toward the specular warm light and we get the warm golden tones. The body of water didn't change colors, only the angle of light that we are reflecting iaw AI=AR.

While this isn't something that most people concern themselves with, it is something that I am (insert OCD comment now ) aware of that bothered me for a long time regarding it, until I better came to understand rgb light theory and this separation/re-assembly that represents (daylight) ambient light as a blending of diffuse cool and direct warm in varying degree/amount iaw AI=AR.

One additional aspect regarding this. When we have "gray skies", we typically associate that 'gray' to a reduction in luminance, but it is also a very homogenized blending of the the warm & cool to produce the neutral "gray" lighting. Blue bark in the forest while golden shafts of light filter through the canopy is yet another indication of how ambient white is separated into warm & cool relative to our orientation to a given portion of the sky.
http://www.fredmiranda.com/forum/topic/1194317/0#lastmessage


Now that you (et al) think I'm totally nuts ...


Short version (i.e. practical vs. theory) ... +1 @ tweak on the blue channel.
How much you take out vs. leave in, highly subjective to what you deem looks "natural", and what kind of mood you want to present.

The reason I mention it here ... is that the mood for me at the image is one of "old world Tuscany" kind of thing and the associated warmth. Imo, having such blue is incongruous with a warm (or neutral) mood. Yeah, its a nit ... but that's what you came here for.

I still like it.

Edited on Mar 04, 2013 at 04:06 PM · View previous versions



Mar 04, 2013 at 03:21 PM
beavens
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p.1 #20 · p.1 #20 · WA543 Food


Rusty - that actually makes quite a bit of sense and I think you did a great job explaining it.

I'll see how it looks when I get home after work.

Thanks for taking the time to offer up such a complete explanation.

.edit Here's the image with the blue tint removed (as far as I can tell).




  Canon EOS 5D Mark II    EF24-70mm f/2.8L USM lens    43mm    f/4.0    1/50s    200 ISO    0.0 EV  




Mar 04, 2013 at 03:33 PM
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