sbeme wrote:
I think its neat. Composition is very strong, detail excellent. Its not easy to idenitfy what the shadow is. Looks like a knapsack.
Scott
Thanks Scott. The shadow is actually the camera, which I could pretty easily clone out, but I kinda like it because the sun is behind me and it's such a radical focal length it appears way off the track when in actuality it's practically in the sand. The first few tries my own shadow is in there so I had to stand way off to the side and behind and basically aim by guessing. It took 4 or 5 shots to get it right but this is uncropped. As an aside, it's a Nikon D200 with the MB-200 dual-battery attachment and a Nikon brand hand strap that I absolutely love. I've always hated neck straps because they get in my way and have more than a few times caused me to almost drop a camera or have it snatched from my hand by catching on something, because I never have the camera around my neck. For years I would use this special way of wrapping the strap around my arm because I still felt vulnerable with no strap at all. So when Nikon came out with it for their bigger DSLRs about a year ago, I ordered one; and when it arrived I put it on and immediately ordered a second and haven't looked back.
Heh, heh. It seems I expressed my question ambiguously. When you mentioned you print them a standard size, it made me curious whether you print them for a special purpose. (Perhaps for gallery display under artificial light, or to be viewed with natural light, for example for sale at outdoor art shows?) If they are printed for different modes of display, do you adjust how you print them for different viewing conditions? Or do you print them for a specific use?
As for the variations of the image above, I like both. Clarity, color, detail, light are all excellent. Maybe a slight preference for the vertical crop, but I'd be very pleased with either.
AuntiPode wrote:
Heh, heh. It seems I expressed my question ambiguously. When you mentioned you print them a standard size, it made me curious whether you print them for a special purpose. (Perhaps for gallery display under artificial light, or to be viewed with natural light, for example for sale at outdoor art shows?) If they are printed for different modes of display, do you adjust how you print them for different viewing conditions? Or do you print them for a specific use?
Hi, the long and short of it is 'it depends.' I have a daylight-balanced viewing area I built in the back of my studio, which is fairly small; two rooms about 550 sq ft total so everything serves multiple purposes; I cut mat for example on that same countertop etc. Rather than drive myself too crazy, I usually print to that standard and include an info sheet about it. If it's a big piece, particularly for a regular customer (portraiture or fine art) I usually know something about their environment or I'll go to the trouble of going by their house to see where it will be displayed and then kick it up or down a notch. And of course it depends on the piece itself. My personal preferences are if it's color and really has some colorful aspect I like it nice and bright, but if it's a moody portrait or scene I like it to be on the dark side, especially black and white stuff. Though my brightly colored commercial work doesn't show it, I'm really a Frank Ockenfels kinda guy, if you know what I mean...
This is ridiculous, but after I wrote that Ockenfels statement I started sing that stupid old Donny and Marie tune with these words, "I'm a little bit Grecco, then I'm a little bit Ockenfels..."
I have a daylight-balanced viewing area I built in the back of my studio, which is fairly small; two rooms about 550 sq ft total so everything serves multiple purposes; I cut mat for example on that same countertop etc. Rather than drive myself too crazy, I usually print to that standard and include an info sheet about it. If it's a big piece, particularly for a regular customer (portraiture or fine art) I usually know something about their environment or I'll go to the trouble of going by their house to see where it will be displayed and then kick it up or down a notch. And of course it depends on the piece itself. My personal preferences are if it's color and really has some colorful aspect I like it nice and bright, but if it's a moody portrait or scene I like it to be on the dark side, especially black and white stuff. Though my brightly colored commercial work doesn't show it, I'm really a Frank Ockenfels kinda guy, if you know what I mean...