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rashley
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p.1 #1 · chevy doors

Comments?

Mar 11, 2008 at 04:44 AM

Scott Stoness
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p.1 #2 · chevy doors

It does not work for me. Its hard to say why. I think because there is no obvious message or central object and it is square. Pick one part as central object (but not centred) and use remainder to emphasize it is my suggestion.

Mar 12, 2008 at 03:39 AM

dmward
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p.1 #3 · chevy doors

This sort of "Urban Still Life" often more about composition than anything else.

Here is a crop of your image to try to create a composition that has more appeal.

Your crop is static in that the vertical blue line is in the center right to left and the bottom door bead is in the center top to bottom.

Then the bright element in the right window opening leads the eye out of the frame.

One Man's View
David

Mar 15, 2008 at 05:16 PM

rashley
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p.1 #4 · chevy doors

Excellent. I like it a lot. Thanks. Do you think the same applies to "Ford Doors?"

Mar 15, 2008 at 06:34 PM

ALAN ROYCE
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p.1 #5 · chevy doors

Yes!

Mar 16, 2008 at 12:42 AM

DmitriM
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p.1 #6 · chevy doors

leave it in the center! I don't like the first photo,but it's the subject and not how you framed it(which works). Don't listen to rules-you'll never advance by doing so. They are meant to be broken.

Mar 17, 2008 at 06:58 AM

dmward
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p.1 #7 · chevy doors

I agree about rules, and was not attempting to apply any. The subject dictates a composition that reinforces it to create visual dynamics. My comment and suggested cropping for the first image was an attempt to develop some visual dynamics not conform to some rule.

For the Ford doors, the element that is visually disturbing to me is the red reflection. Here I would be inclined to crop so that the tips of the door handles are equal distance from the edge of the frame. Tone the red down to at least what it is on the left door, or eliminate it. An other cropping option is to have the top of the image just below the bottom edge of the window.

My suggestion is to understand the golden mean, and other principals of composition that have been taught to artists for centuries, then look at your subject, use compositional principals as the starting point, and then let the subject help you determine a final composition that delivers a dynamic visual image.

And remember, a camera image is 2:3, 4:5 or 2:2 because that was convenient for film manufacturers. Your image can be any dimension you think conveys a visually dynamic image.

David

Mar 20, 2008 at 08:47 PM


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