dseltzer

Thanks! Good suggestion about the bird's position. I'd wondered about that. Regards, David

Oh, yes, I'm all over the place, finding targets of opportunity... being kind, my photographic ramblings might be called eclectic. I don't know about the reflexes, but I certainly get lucky from time to time! As for macro and/or insect photography, this surely isn't a very good example of either, but it appeals to me as a pleasing picture, and I was drawn to the contrast between the dark of the background and the light butterfly, who stars in this shot more because of its color and form than it's insectness. Thanks for your kind, encouraging words. I'm glad this shot pleases your eye, too. Regards, David.

My pleasure! Thanks for re-looking at the re-shooting! What a gift it is to have you and the others in our CG helping each other grow. I think you're right about having set out to achieve a direct or straightforward, somewhat documentary, if you will, effect. Kind of a "Here's Rusty in the ivy. Doesn't he look nice?" kind of approach, but now I have a much better idea of at least some of what goes into making it work. I did, in fact, think a lot about this before re-shooting it, and actually did plan what you've noticed, which pleases me all the more! Thank you so much for taking the time to look and to articulate the elements you see. This is so very helpful! Warm regards, David

 

P.S. Rusty is a bit of a little flirt in the sunbathing shot, and that's really all Rusty's "personality," since I did no more than change his location and the camera angle. The pose is all his... well, and the artist who created him. Fascinating how all this works together!

Thank you for looking and commenting. I'm glad you like the changes. On this second take, I'm mainly the technician. The artistic suggestions came from friends, *including* you! And I had a good time trying out the cropping and lighting ideas. Good PS practice, too! Regards, David

Critiques, comments, reactions all invited and welcome.

I'm so glad you like this. You know, I haven't done much B/W before and I'm just starting to appreciate it's advantages. I agree it is definitely better for this shot. As for Rusty being about to jump, I think he was! Seriously, I had so much fun working with the ideas everyone so generously gave me with the first Rusty shot. This shoot has opened up many new ideas and avenues for me. Thanks for stopping by. It really pleases me a lot that you see this shot so positively, and your description of what you like helps round out the whole experience of the shoot. Regards, David

Thank you so much. Your reactions a and opinions mean a lot. Regards, David

Thank you! I'm embarrassed to say I didn't notice the bright stem or I probably would have removed it. I gave passing thought to the non-ivy in the upper frame and I think it would be a good idea to take it out, too, probably just by burning the area. Thanks, too, for your comments on technique. As a result of the very fine critiques of the first Rusty pic, this one was, indeed, thought out, so I'm glad it payed off. Had fun doing it, too! Regards, David

Each of your treatments of this guy has a very different feel. This one seems more serious, a bit more stern, while the similar one in color shows his ruddy cheeks and just a touch of his lower lip, so he looks warmer, less angry, more alive. I do also like the sepia one that also shows the horse, and this fellow looks somehow more vulnerable to me in that one. As usual, your eye is great, and you've really captured important essence of this man. Regards, David

Love the steam, love the shot. The steam puts the engineer truly into his work! With the steam, the colors, the moving wheel, this delights my eye and makes me smile. Regards, David

You might not care about cars, but I bet someone who does would want this hanging on their wall! Wow! Tack sharp, wonderful colors and composition. The reflections on the tire are unexpected. Was the tire lacquered or otherwise coated and shiny? However it happened, the tire reflections really add to the composition, in fact, I'm not sure they don't actually complete it and make the whole composition more cohesive. Speculation and technical considerations aside, this is a great shot. Regards, David

Thanks! I did have fun and going through the exercise has lead me to thinking more and differently about composing. Interesting that you see Rusty as "almost flirting with the camera," because I am very aware that giving him a name and anthropomorphizing him while shooting made a good difference and at times had the feel of working with a live model... telling her/him to stand here or there, look this way or that, and the model also still putting her/his own personality and stamp on their pose. Anyway, no need to go any deeper into this aspect, just to say it was an interesting part of the experience and part of the fun of it. Thanks for taking a look in the folder! I'll be interested in whatever other thoughts you may have later. Regards, David.

Rusty loves your picture, and he said to tell you it's only a weed if in someone's opinion it's growing where it shouldn't, or where something else was planned. Regards, David

Very interesting that you're thinking about presenting macro work non-clinically, or as we've discussed in other threads, less in a documentary style. While no where near doing this level of work myself, I have thought recently that there must be ways to present other aspects of the beauty of little things, and you are doing exactly that. Thanks to you and Fred I've started looking at Vercampt's quite amazing work. I appreciate being made aware of him, and I'll learn much from studying him.

 

Fred has done a wonderful job of describing the elements of your image and how they go together and work together for him, and while I don't yet have the excellent descriptive and interpretative abilities Fred shows in his critique, I think I can easily understand (your descriptions are that good, Fred!) and my eye agrees with Fred's words. In my more simplistic way, I want to say how well it works for me to see the harmony between the lines of the wood grain and the angle of the wood, with the direction of the dark lines on the shell. Also, the progression of thick to thin lines on the shell make it look very like it is growing out of the wood. I very much like the softness and tones of the background, and certainly the position of the shell and background swirl is no accident, and a feature that very much connects foreground and background by creating a sense of the light, shadowy background swirl eminating from the top of the shell. The similarities between your image and Vercampt's is unmistakable, and I particularly notice the richness you've achieved with what at first glance might be seen as a minimalist background. To my eye, very well done, indeed! BTW, the background is another shell, yes? Perhaps a Shark Eye (Polinices duplicatus) looking just to the side of the top of the shell? Whatever the specifics, the effect and the obvious continuity between foreground and background, even to the extent of being shell and shell, is delightful.

 

I'm afraid I can really offer nothing but observation and admiration for this image; I have no ideas of any ways to improve on what you've already done. This is a wonderful submission, first one or otherwise. You've certainly wet my appetite for your future presentations! Regards, David

Rusty says, "Hello, Rachel." He was so excited today, and he wanted to pose all over the place. He'd kept rusting so he'd be in shape for the shoot, *and* he brought a friend! There will be a new folder in my portfolio: Rusty and Friends, either tonight or tomorrow. Rusty says, "Come on over and see me some time!"

 

;-D

This is a beautiful vista, and well captured. I'd like to see more detail in the clouds and more contrast, and I would want to straighten the horizon, though it isn't at all critical. I like this picture, but I think I'd like it better if it popped a bit more. Please forgive me if I intrude too much, but I played a bit with your image, adjusted levels (sky and below done separately) and sharpened a bit. I think it's a bit of an improvement, but it's your pic and just my take on it.

I just decided to take my camera along to work with the thought that I might find a picture

along the way. Around one turn in the road this scene was waiting. What do you think? And

thanks for looking and commenting!

You are all so kind and generous.

 

Fred, thank you for your very kind and flattering words.

 

Rachel, you honor me so by comparing me with Fred!

 

Joe, you're absolutely right about my totally delighted surprise at "such a fascinating and insightful conversation" having sprung up around this image.

 

Pnina, thank you! I am indescribably happy to be part of this group.

 

Gordon, you have said many things I have taken in and treasure, so I am truly pleased if I can give you something in return.

 

And to Ian, Marc and Pete, I am so glad to be among you and I trust we will have many exchanges over time. Starting this group seemed like a good idea, and it's only getting better as we move along. I'm off to spend some time with "Rusty." Here's hoping you all have a great weekend. Warmest regards, David

Oh! I am so glad the elves decided to put your picture in the daily sampling. This is a totally incredible shot... a teriffic capture. The focus is absolutely spot on, and the depth of field is perfect for giving just a distant hint of the blossom that is floating in the dew drop on the fly's back. It's like the fly is carrying it's very on gazing globe, or crystal ball. Congratulations on this wonderful image. Regards, David

Staunch *and* so very determined! Great capture. I also can't help commenting on the way this picture pops... that should be POPS! I love the tack sharpness and wonderful contrast you have here, and without losing any of the subtleties of the man's face and expression. Nicely done, Joe! Regards, David

Thank you for looking and for the compliment. Sorry you're allergic to cats, but at least you can look at their pictures without sneezing! Regards, David

...and you (Fred, Gordon, and Ian most recently in this thread, and everyone in our CG) seem to me to all be gifted at it in you own ways. Nothing anyone has said has felt directive, constraining, or imposing of someone else's photographic sensibilities onto me. That said, I think I understand your concern, and it's been instructive and enlightening to read your recent comments in relation to helping/letting/encouraging one to develop one's own style.

 

In my "day job" as a shrink (no, I've never minded the term and think of it affectionately) I am quite frequently confronted by someone wanting *the* answer, or how to, or is this or that right or wrong, good or bad, and on and on. My response is typically something like, "My job is to help you find *your* answers." This is what I "hear" Fred and Ian and Gordon considering in the last few comments. It's the same as what I wrote in answer to Gordon's comments that he worried would be boring or some way less than necessary or helpful to me. My response was to paraphrase a line I like about what constitutes a friend. I think the same is true for a good shrink, a good teacher, a good mentor, or anyone who sets out to help someone else to grow and improve in whatever they're doing. The way each one in this group has been approaching each other's work has been delightfully individual, and there is a very strong common thread of sensitivity toward each other, respect for whatever each seems to be trying to do (amidst much very interesting and thought provoking speculation about the meanings and messages of each photo) and admiration for our willingness to expose our soft underbellies and to try and help one another. This is, after all, the raison d'etre for the formation of this group. No?

 

To be encouraged to try this or that, look and see in different ways, consider different approaches and styles is important, I think, to developing one's own style, and I don't think anyone in this group has even remotely hinted that their way of seeing and doing is "the way," or that anyone else needs or is expected to adopt anyone else's photographic voice. Yeah, it's a mixed metaphor, but you know what I mean!

 

As for considering what one wants to say before creating a picture, well, like everything else, I think that applies some of the time. Sometimes one may be trying to say something specific, sometimes trying to generate a feeling or get a reaction, sometimes hoping to make others think, sometimes creating a picture that has presented itself, quite unexpectedly, when one turned the next corner, and sometimes just because it felt like the thing to do, without being any part of any previous conscious thought or planning. Wordy! There are many reasons and ways to make pictures. I think the more varied ways one approaches something is much like learning new words that one later puts together in one's own way to try and best express whatever one is thinking and/or feeling at a given moment.

 

I guess I could best sum up what I'm trying to say with the thought that even if someone really tries to push me in a certain direction, or if I try to emulate someone's style, no matter. The end result will still be my creation. I might try and express myself in the style of Goldsmith or Bowbrick or Cox-Leigh or Hosoe, but it will still be me. We each will inevitably assimilate whatever we're exposed to, encouraged to, aspire to, and end up putting our own imprematur on our creations. Even if we try, or someone else tries to make us, we will never be someone else, speak in someone else's voice, or express anything other than our own message in our own way. This is not to say I think it's OK to be cavalier about telling others what to do or how to do it. It is very important to always respect the individuality of the other person and to try and help them be the best at being themselves. It's just so obvious that everyone in this little group is dedicated to doing no more or less. I am so delighted and excited to be in the company of such sensitive, thoughtful, caring and talented people!

 

Seltzer has spoken!

In a very real sense, there cannot be comments that are too basic... certainly not for the likes of me! ;-) Actually, while I hadn't yet seen your last comment, I thought I was saying something similar in my response to Ian, but maybe I wasn't clear. I couldn't agree more that one of my challenges is to move from documenting and just "grabbing" whatever images present themselves, and on to conceiving images before tripping the shutter. I'm really eager to work on that with the help of my metal friend (I really need to give him a name... maybe it's Rusty) this weekend.

 

I think you needn't worry about whatever level your comments may be on. As long as they continue to be honest and given in the kind and genuine way they've been so far, they'll continue to be of great value to me. What I'm about to write won't be quite accurate to the original quote, but the paraphrase is something like, "A friend is someone who knows where you come from, understands where your are, and gently encourages you to grow." We are, of course, just getting to know one another, but I feel your manner and comments are most certainly those of a friend, and I'm honored.

 

David

Yep. It's a berry good time of year!

I think your critique came out just fine... and very helpful. I have been, without a doubt, pretty stuck in the mode of documenting as opposed to making a shot express what I feel. At least, I've tended to see something have a feeling that makes me want to take a picture, but I haven't spent much time considering what angles, perspecives, lighting and composition would best express the feeling I have when I look at the subject. I think this is at least partly a function of often getting pics on the fly, on the way from somewhere to somewhere else, out for a few minutes... you know, taking pictures may have been the objective, but it gets squeezed into an inadequate period of time. With my metal friend I happened on him as I was going through the yard looking for "targets of opportunity" during a brief time I had free to go out and shoot. So, I saw him and thought, "Oh, that'll probably make a good picture, and I really didn't think a lot about any more than camera settings.

 

Your comments and suggestions, as well as the others', are opening my mind to all sorts of aspects of picture making that are so important... things I've known about but haven't cultivated or practiced. As I'm participating in our CG, which delights me no end, I'm learning from reading and writing critiques, not to mention studying the images, and I feel that I'm so much more aware of so much more. As I wrote earlier, I'm planning for this weekend to not only take pictures, but to do a study of my metal friend and see how well I can put your suggestions into practice. What I'll probably come up with will be a presentation of at least several approaches, and I'll be eager to know what you and the other group members think, not only of the images, but of the differences compared to my previous work.

 

So, thanks, thanks, thanks for taking the time and energy to share your ideas and suggestions and to help me grow in photography! I feel so fortunate to have the opporunity to participate in this group and to be in the company of such good photographers, thinkers and such generous people!

 

Regards,

 

David