phule

[[in what appears to be a dark field of rubble (?)]]

Seems more likely to be a cemetery.

Sorry, I can see the blades now. It was either not enough coffee or too much coffee this morning. Carry on.

Perhaps someone would be able to explain why a number of these wind turbines appear to be missing blades. Are they under construction?

It's not a wedding photograph. This is a street photo. This is not for the bride, this is of a bride.

The brides head is "down" because she is looking at the people down the stairs (maybe a photographer, maybe family) at the people looking at her. She is clearly posing for them.

The dress is below her because she walked /up/ the stairs and turned around, without pulling the dress behind her.

It's a wonderful image.

Possible species mix-up between head and body aside, is this concept any more "pretend" than what's stuffed, posed, and displayed in probably every single natural history museum in the world?

To anyone who claims there is nothing unique in photography anymore, I will send them to this photo.  Also, I had no idea woodpeckers would feed on carrion.

John A.
You are not the first person to notice a connection between USM lenses and an animals reaction. I believe this topic has come up every so often (though it may have been on another site) with the usual polarization of opinions.

[[when I see composite images that are getting POW honors. It would seem that it is.]]

**sigh**

• This image has been selected for discussion. It is not necessarily the "best" picture the Elves have seen this week, nor is it a contest.

I'm so surprised that so many photographers in this thread have not seen the Kieslowski film "Bleu" from the Trois Couleurs trilogy. He and Slawomir Idziak (DP) used this very technique oh so effectivly.

I saw this in the recent "Minimalism" thread. This is such a wonderful image.

Peter,

 

If you click on the word "details" just below the photo, you could find out :)

As has already been stated in your thread. Focus on the eyes, not the nose. Do not believe for a second that the camera knows what you want to have in focus and what you want out of focus. The camera is there to do your bidding, not the other way around.

[[Photomatix can blend few different conversions from the same picture, either RAW or exposure adjustment in Photoshop.]]

 

That is not HDR.

This photograph, more than many others I've seen of late (not necessarily on photo.net) tells a story. It tells the story very well and it uses the medium to enhance the mood of the story.

 

Emotional impact, above all else, trumps technical perfection. Always. This POW is a fantastic example of emotional depth within an image.

Well deserved recognition. I'm partial to your work in and around Chicago, but only because I'm biased :)

 

The movement of the woman makes an otherwise static scene more dynamic, IMHO.

Ciprian,

 

You've gone above and beyond in the level of detail you've provided here. It's fantastic to get a view 'behind the scenes' of how you created this very nice image. Congrats again on the POW.

If you look at the bend the shadow of the woman takes at the bottom of her legs, you'll see the strong verticle line is indeed a shadow as it behaves exactly the same way.

The image is all about the shadows. The shadow cast by whatever object is out-of-frame to the left creates what looks like a break in the cars. The shadow of the woman and lastly the shadow of the sign (which should very much stay).

 

A good choice for POW.

From the photographers notes:

A little manipulation with Jasc PaintShop Pro 7 (cleaning, cropping, curves, saturation, sharpening and the like - plus, as you will surely have spotted mirror-reflection).

I think the "metal thing" is a door. I see the woman as sneaking away from someone or something. There's a sort-of key-hole on the metal object as well, though in an odd spot. But then again, there's a lot of odd things about the image.

<< Sure, I KNEW it was a Holga! Great vignetting. Excellent Holga shot. Did you use flash to get this? >>

 

I did not use an external flash. It was partly cloudy out and I shot this with the "sunny" aperture of my modified Holga.

 

<< Yes, last time I was down to the lab they were telling me that people who do black and white are becomeing more and more scarce. But I am digressing back to my analog cameras anyway. Its so much more fun. >>

 

I've really been enjoying using the Holga with the Polaroid back. It's a great thing to walk around with during my lunch hour.

 

 

<< I wonder how you attached that back to the Holga, although, I do not have time to do one of my own right now. >>

 

The back is designed specificly for the Holga, so it latches in easily with the silver tabs on the side. For added security I use gaffers tape and tape the back to the camera body in as many places as I can. (It also keeps the back on the camera more tightly than without.

 

If you have any questions about the Holga back, let me know. If you want to buy one, I'd recommend buying a used on off of Ebay.

Wow.

 

That pretty much is all my brain can come up with at this point. Wow. :)

Interesting. I think this image uses the blight of the urban glow to it's advantage. The orange (street lamp?) in the lower right is a bit distracting, but overall I think this is well done.

<< Rob, I wish I could live up to your expectations, >>

 

Well, I have no expectations of your work Doug, so I can't say you have anything to really live up to. I just enjoy many of the things you post. You've got a way to select composistions I wish I could distill from my work. Far too often my images are either too busy, too complex, or just down right silly.

 

Of course here the devil is in the detail but it's still an image I could never make.

 

I'm not trying to be a fan-boy or anything, I just think a lot of your images resonate well with where I want my photography to eventually be.

Rorschach would be proud. :)

 

Glad to see you posting again Doug. Your images continue to amaze me (and make me really jealous).