timohicks

Thanks Baogiang and Hani for your comments; Kind of hard to say who's the boss here--The Gull actually stood atop the statue's head for almost five minutes.

Comments welcomed . . .

Looks like your portfolio is off to a good start. This one is a little heavy on the "Shadow/Highlight" filter; good composition though; and thanks for the comment; I responded.

Thanks for the comment; at the location, if I lowered the eyelevel, it would raise the lamp post light too high; the lamp post light is what attracted me to the location. Thanks again.

Comments welcomed . . .

Comments please . . .

Almost; I would like to see this with a little more contrast and without the tint on the lips; good composition nonetheless.

Comments welcomed . . .

Naturally, I like the colour better Ransford; more color depth; Thanks for the comments.

I agree luminance is one of the pluses of electronic color. But you have to control the RGB because these frequences tend to have a life of their own. I think this is why old picture tubs and newer LCD panels used a black dot interface to cut down and limit the intense colour frequencies.

 

 

Actually the intense colour you have mentioned before in my work is partially due to the lost of values in the conversion from JPEG to GIF in order to upload the photograph. Sometimes I forget to lighten the jpeg a little to compensate for the lost. The gif's tend to look higher in contrast when infact they lose essential color detail. Thanks for the interest.

 

On another note, I took about 700 or so photos while in Chicago last week and I am going to post some of the street shots as soon as I get a chance. I will be interested in your take on my street shots since I have not posted any thus far.

 

Thanks for the comments and take care.

I agree with the others; good atmospheric perspective or illusion of death.

Yes, but the body language is so significant in this very simple piece; and don't forget the shadow that serves as a backdrop bringing stronger contrast to the foreground figures; did they know they were being photographed? It certainly looks truthful . . . Tim

I once went to a Photoshop workshop where the so called expert removed the blue reflection in the shadows from the walkway pavement; and I sat there in awe of his ignorance but more or so concerned that he likely influenced others to think the same thing. For some reason (likely they don?t study lighting in painting or have never taken a painting course [not from me anyway]) photographers, I am beginning to conclude, do not understand the phenomenon, reflected light, and those that do are usually unaware of the reflected colors that go with it that are generally displayed on the shadow side of objects; and those that understand this, don?t know that shadows under naturally light (white light or sunlight) are radically different from shadows under artificial light.

 

 

This is really strange; I just walked in the door, returning from art education conference in Chicago where (believe it or not) I explained the same concept to a female vendor who had written two manuals on Photoshop CS2; she, ironically, had taken several painting courses and remarked, funny, none of my professors told me that, to which I responded: Maybe they did not know. She understood complementary colors are found in shadows, however, she thought the same complementary colors were found under artificial lighting and sighted a shadow on a column in the vendor exhibition area.

 

 

Suffice it to say, the blue you observed is a reflection from the sky and tends to be easier to see in photographs than with the naked eye. Remember--for purple mountains majesty? The purple is reflected light or light reflected in the shadowy side of the mountain. (Got to go; need rest).

 

Very honest and candid capture Marco; Body language says alot; Good Work!

Comments welcomed

Glenn, Thank you kindly for observation and remarks---Take care.

Comments welcomed . . .

Comments welcomed . . .

Thanks Jimmy; I have an affinity for shadows in a positive light; Regards . . .

Comments Welcomed;

There are some advantages to using BlK/W film; it is fast and grainy but unless you purchase the professional quality Blk/W film, you will likely not achieve the sharp crisp image like that seen in an Ansel Adams photograph. Also the professional quality film is blacker whereas other Blk/W film has a faint brown or bluish tint. Converting digital color to Blk/W even using Photoshop does not produce the same results as the professional quality film. So if you really have the Blk/W bug, perhaps you should try professional Blk/W film. The results may be worth it.

Very good composition considering the simplicity of the photograph; low eyelevel; back-lighting of sun at the head of Christ; cross not in the center of composition---all add up to someone knowing what he is doing. Excellent craftsmanship.

Comments welcomed . . .

Thanks Tye, I didn't expect much objectivity from this composition due to the symbolism; I'm not finished, however, I wanted eagles wings instead of the sea gull's wings I used; and I think I am going to superimpose a human figure on the cross or replace it altogether with a blended human figure. The lily and cinder block wall work fine. Thanks again for your support . . . Take care.

Photographers don't seem to understand that black and white photographs are flatter than their color counterparts. Simply put, there is no color and therefore no "color depth." While black and white values simplify compositions, they don't separate by value as effective as colour separates by colour. There can never be the push-pull relations of warm and cool colours in a black and white photograph. This is a very important point I think too many do not realize.