Hello John,
I see what you mean know, for some reason I was thinking vertically.
I've heard about the patience of the pros before, yes, very revealing.
Beautiful photo btw, I remember seeing it while browsing the TOPE gallery.
All I can hope for is to some day be as good a photographer as you and the
others whose work I've seen on the TOPE site.
Thanks again for the help,
Darin
----- Original Message -----
From: "John A. Lind" <jalind@xxxxxxxxxxxxx>
To: <olympus@xxxxxxxxxx>
Sent: Thursday, May 12, 2005 6:29 PM
Subject: [OM] Re: Photos for your critique
> At 05:43 AM 5/12/2005, Darin wrote:
>
>>Hi John,
>>
>>I appreciate the tips on different types of film, that is one area I know
>>nothing about and just use what ever they have at the local stores, which
>>as
>>you suggested I'll probably continue to do until I get better.
>>
>> > Many of your photographs have a point of interest or subject dead
>> > center which can either be too powerful or visually splitting the photo
>> > in
>> > two.
>>
>>I get what your saying about the subject being dead center, but could you
>>give an example of one "visually splitting the photo", to help me better
>>understand?
>
> See this one . . . a photo I did six years ago . . . it is nearly split in
> half by very straight horizon line and contrast of sky meeting turf. Use
> your hand or piece of paper on the screen and crop about 1/4th of the
> bottom off (removing about half of the foreground grass) and see if that
> doesn't improve its visual impact (not that it has a whole lot to begin
> with; it's not one of my better photos).
> http://johnlind.tripod.com/oly/gallery/om27.html
>
> Regarding the cabin photo:
>
>>I agree, there's a lot wrong with this one, but it was in a remote area I
>>wasn't sure I'd ever get back to, so I had to make do with the time of day
>>I
>>was there.
>
> The "pros" can spend a day or two to make a single photograph in the field
> . . . waiting for light and sky to be just right. Sometimes they make a
> "record" or "establishing" photograph and go back at a different time of
> year for a different sun angle, seasonal weather, or knowing that plant
> life will look different in another season. That said, few have the
> luxury
> of doing this . . . but knowing about their patience and willingness to do
> this is at least revealing about how they achieve some of their
> photographs. I waited two years to make one photograph . . . visualized
> it
> one summer, knew what I wanted, also knew I would go back there for a week
> every year (for other reasons), and waited until the weather provided the
> direct sun and sky I needed for it. Been known to wait for something . .
> .
> but that's the longest . . . thought I'd never get to shoot it. Some of
> the others done near where I live have waited for a particular season and
> conditions that would do something for it to give it more impact . . .
> such
> as this TOPE photo:
> http://johnlind.tripod.com/oly/gallery/om153.html
> I had been waiting since the late summer hoping for 3-6 inches of snowfall
> in the winter followed by a clear blue sky day . . . that never happened .
> . . but the heavy frost and clear sky did . . . so I shot that instead to
> at least seize the opportunity of the sky conditions with the frost.
> Still
> waiting for the snowfall followed by a very early morning clear sky . . .
> and if that happens and I can go shoot it again, I will.
>
>>I also agree that I need to do a lot of work on composition. It's
>>gonna be touugh training myself to get out of snapshot mode, but well
>>worth
>>the effort I'm sure!
>
> Not as difficult as you might think . . . all it takes is consciously
> thinking about it every time you pick up a camera, reviewing things
> afterward, and periodically reviewing various compositional techniques
> until it becomes an automatic habit.
>
> -- John Lind
>
>
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