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| Re: Observation on my click of a small snake god temple in india |
Gardner, That's quite a lesson you gave me here. Thank you very much! I knew the eyes are drawn to contrast. But using levels of contrast to guide the eyes of the viewer... a gem of a trick. Am gonna try that for sure.
Most of the time you'll need to create the gradients in post processing. Keep the "breadcrumbs" on the eye path you want the viewer to stop and savor light by dodging a bit lighter than SOOC, then darken the areas around them to send the subliminal message not to waste time looking there.
I always try to record a full range of detail as by baseline starting point but when shooting anticipate how I'll change the capture in post processing:
How I visualized the final result when taking the shot:
I don't have the SOOC file for this one on-line but it was similar to the gear shot, uniform detail everywhere:
Here's a PJ sequence of vacation snap shots...
Note the context of the location and fish food dispensers on the dock which help explain what she's doing, perhaps not immediately but the "dots get connected" when the second shot is seen.
In the second I intentionally included parts of the dock as context, tying into the first, but just to frame the action in the middle. I blurred the dock on the edges a bit in PP to subliminally tell the viewer they were less important that the sharper stuff in the middle. Because the fish in the middle are dark I kept the dock light as a contrasting frame, and dodged the fish lighter than they were SOOC.
The ducks which are not really noticed in the second shot because they are hidden in the glare off the water and the fish are in the darker area and the viewer is busy thinking, "Oh she's feeding fish". That diversion of attention makes the ducks a surprise "Easter Egg Hunt" focal point of the story. Seeing them walking on the fish trying to steal the food is the added "punchline" that hopefully takes it to the next level of making the viewer react emotionally with a smile... Just a shot of the fish wouldn't be as interesting because the viewer already knew they were there from the second shot.
At least that was the plan when I visualized the story standing on the dock