JonPB
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 p.1264 #3 · Leica M/X/T/S/Q/CL/SL Picture Thread | |
(Pg 1305)
Mitch, The photo with the soldier illustrates for me how much this craft really is about painting with light. The transition from low-contrast tonality on the left to high-contrast on the right, seemingly separated by a soldier who looks like he has stories to tell, makes this one stand out for me.
Beauport, I rather like the symmetry in this one, with the top-left and bottom-right rather smooth and the bottom-left and top-right full of natural textures. Even the dock and the table balance each other near the center. To my eye, which might be immature, this looks like the kind of snapshot that is well represented among more famous Leica shooters: ordinary at first glance but something about it just pulls me in for longer viewing.
(1306)
Uhoh, As with Beauport, the Boyfriend photo reads like a snapshot but has a lot to it. Subject-ground with your daughter and the boyfriend, lots of texture around them, the headboard and frame next to it and frame on the floor balancing out the warm color of the day, the texture around the fringes of the midzones, the strongly skewed perspective lines adding energy. Good eye for that snap, I do think.
Coogee, just looked that up, and now I'm thinking that I should try to convince my girlfriend that our Scotland & Wales tour should include NSW. Dunno how that'll go over.
Ryan, the flower-on-pavement photo has an interesting characteristic to it. I think it has to do with the sharp edges of the specular highlights, but the pavement stripe seems much further away than it looks, almost as if it is under several inches of clear, frozen water.
Gary, the interior of the tram shot is quite nice. Technically, I see blues and yellows balancing each other, but mostly I think it is the contrast between that clean, vacant car and the lightrail I'm used to using. :-)
Abram, there are lots of street photos where subjects walk into nicely framed compositions, but I'm not sure I've seen shadows used like this before. Thank you for that.
(1307)
Werner, again I like the contrast levels that you work with. I'm also impressed by how you pull off 15mm without it being strikingly wide.
(1308)
Canerino, I'd swear that swimming pool near/far image is from one of my photo books ... if not, it deserves to be. I think what makes it work are so many things being implied: the youngest about to hit the water, on the left reacting, on the right focused on going somewhere, the railings and the stairs on the bottom left.
(1309)
Joshua, that last chandelier just pops and glows. I think it makes a good high-tone study.
Adam, I never really liked B&W until I forced myself to work in it (due to my relationship with Sony colors). Then I fell in love with it. B&W is both liberating and challenging at the same time, much like working with a manual lens or manual exposure, and I think it has also dramatically improved my ability to see in color. {Is that enough to feed your desire or do you want more? :-) }
...and everyone's posts that I didn't comment on, I'm liking everything I'm seeing but no particular things to articulate are coming to mind. I like the volume and variety in this thread, so know that I appreciate you sharing your work.
From me--
Good morning, Portland. (26)
M9, 35 FLE, Capture One.
Cheers,
Jon
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... I can just see my self being frustrated that I can't find the JPG settings to turn monochrom shooting off. And I'll be scratching my head wondering what's going on, and why I can't find the option.
I would not mind a MM at all, just to marvel at the detail 
