Untitled

are we getting a bit closer to your real work? at the risk that this too is a sendup, I find it delicately lovely.

What's with the gradients?

I am glad you like it Mr Kochanowski. It is a snap of a lady standing under a railway overpass where the light happened to be falling in a way to create some interesting contrast. This image is an example of a compositional note which may lead to me making a painting - I take my painting seriously.

I have no idea what you mean by your question Mr Root.

The only thing I can see on my monitor, Carl, are some digital artifacts resulting from upload of a compressed file--possibly with extra contrast added in PS exacerbating the effect.

 

The soft focus does invite one on in, George, and the figure offset to the left does enhance the composition. The figure could be taken for a broad-shouldered guy in heels and a skirt standing in front of a bike rack, but it is very impressionistic and invites one to make of it what one will.

The abrupt changes in tonality in the shadows is probably due to compression, considering the large image size, but it is so pronounced that at first I thought it was intentional. If it isn't, the solution is to upload smaller JPGs like the rest of us.

I don't follow that, Carl. Are you saying that large JPEGs are more likely to have such artifacts, or simply that they are more likely to be visible on larger files? I have yet to master the art of getting good files for upload. They print out well (before resizing, of course), but they don't upload well.

"abrupt changes in tonaity in the shadows..."

I do not think that uploaded image size is an issue here. (I was quite pleased with the amount of detail in the shadows given the enormous difference in EV in the shot.) certainly enough detail to suit my purposes

What you are seeing I think is a blocky delivery of the tones - a direct outcome of two things.

Firstly the fact that the image is all out of focus - made up of bokeh blocks if you like and

secondly, the background building lends itself to distinct tonal sections, given the shadow, EV differentials and distinct architectural features.

As an aside, my reading of the posting 'rules' indicates that file size is limited to 1000 pixels wide - I purposefully chose this setting using a Fred Miranda action when downloading. This action compresses large files in increments and 'sharpens' accordingly. It is a painterly rendition of an interesting fallof light with convenint 'objects' in place.

Then it IS intentional. Curious that you would want to use a sharpening action on bokeh . . seems contradictory, although if you like the effect, that's what counts.

 

It gets my attention because up until the recent decision by Brian to no longer require recompression, we saw this all the time . . . and wanted very much to get rid of it.

I dont know what to say about your post Mr Root...

II used an action supplied by friend to automate a compression function so I could post here according to guidelines interpreted by a friend. The sharpening apparently is part of the action so as to minimise the negative side effects of compression...

My use of the term bokeh and blocks was an attempt to describe perhaps what I thought you were seeing in the shadow tonalities ..I don't shoot for Bokeh I shoot for light and composition when making notes.

I am sorry you feel that the image is over burdened by sharpenning issues - however I am no expert in these matters.George

Do you see the same shadow detail separation that I do?

Edward Hopper in BW...

Carl, you obsess about the silliest things. Who cares about artifacts on an internet site? I am interested in seeing more of George's real work and could care less if he doesn't fuss with it before uploading. I know I don't bother. My prints look nice, though.

One of my favourite quotes re Hopper was from Charles Burchfield: "With Hopper the whole fabric of his art seems to be interwoven with his personal character and manner of living..." That being said, as flattering as you may have intended this to be Jacques, my work is nothing much like Hoppers - save for the commonality that all good work 'should' ( and has to) share, and that is composition and perspective.

More people could study painting if they wish to understand how to make good or better photography (I feel so anyway).

Your faces are interesting, and I enjoyed clicking through your series - I would (personally) like to see more of the environmental context behind your people shots, ( you seem to have a natural sympatico with people) so maybe you would enjoy playing with a wider view sometimes, but this would change everything no?

Andy, I wish (on reflection) that this was made in colour, however, I had B&W in my camera at the time. So as far as painterly treatment goes, all I have is the idea of light and shadow here. Many people now just shoot in colour and convert to B&W via PS, maybe this is the future.

However, with street scenes like this, too often the city imposes ugly detail irrelevant to interest and when playing with compositional ideas - I like to remove the ugly and irrelevant without forcing a get closer mindset. What makes this image interesting to me anyway, is the tension between the pole and the figure -I have made some sketches with and without the pole included - and can't decide which way to go. I shall leave it for now and come back to it perhaps one day. George

Andy, this 'painterly effect' is either intentional or not. I'm glad you're certain you can visualize how this jpeg would look as a print. I'm not.

Carl, in all fairness to George, it seems to me that this painterly effect would suit his purposes just fine, whether printed out or not.

 

George, since you do indeed call 'em as you see 'em, how about some social commentary on Maria's NYC pictures? You'll probably be hated as much as I am, and you and I might disagree as well, but, hey, life is short. Might as well get it said while we have breath enough to say it.

 

I'm used to give and take, and so are you, and we don't have to engage each other directly. The point is not a duel between us, but just absolutely open expression, no holds barred, with whoever will listen--and possibly respond.

George:"...this would change everything no?"

I believe so and would fit less the "Wrinkles"'s title... but in fact views are cropped in square so used to be wider...

and I was not 'flattering' ...really remind me EH, better look at this one... revisited!

Yes Jacques I see what you see ...and thank you for your illustration.

Mr Root I take it that your point is that I should post smaller files.

Mr Kelly I understand that you are making some attempt to 'make peace' so to speak. Let me assure you that I bare you no malice or ill will, or anyone else for that matter.George.

They were perfect strangers, assembled to pull off the perfect crime. Their simple robbery explodes into a bloody ambush, and the ruthless killers realise one of them is a police informer. But which one?.... Mr. White, Mr. Orange, Mr. Blonde?... maybe Mr. Pink... or even Mr. Brown!?...