kieran_hamill
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Image Comments posted by kieran_hamill
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Awesome. Next time anyone offers the advice '...f8 and be there.' please include a link to this photo.
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And refreshing to see a bit of technical detail on how you achieved your vision. By the way, did they eventually identify the dead body on the left?
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I like this picture. It not only shows the after effects of a local war but also demonstrates the results of tectonic uplift in the region as a whole.
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The thing that caught my attention on the samll image was the choppy sea, only it turned out on closer inspection it was the grass. I like that sort of juxtaposition in landascapes, although a real choppy sea mimicking the grass texture would have made this perfect, but you've really got to be keen to get out there when the weather is that fresh.
When I try this sort of thing I usually find a sharply sloping horizon or even 45° diamond format framing works quite well for me, and has become a bit of a trademark. It's not a style statement or anything, just that my tripod keeps on blowing over.
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Personally I think you have got this one about right, and the asymetric arrangement works for me.
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There are not many people who could make such a thing of beauty look so dull and lifeless.
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These type of shots would normally be judged to be underexposed, but in this instance I think it is just about right. Well done.
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They are not transporting wood, they are simply not very proficient at making canoes. The far man has speared a small trout. The nearer gentleman has inadvertently speared a crocodile, which is pulling him off his hastily assembled boat.
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But I think it's a hoverfly
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In answer to your question, to see more detail I think you would need to shoot much earlier in the evening. Usually the best results are obtained when there is still some colour in the sky and ambient lighting is roughly equal to the artificial lighting. Most night time shots you see are actually taking at dusk, within an hour of sunset. The window of afterlight is much shorter in tropical climes of course.
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