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Hi Jorgen, thanks for the input and the question. I think you have a point, but the perception of course varies depending on lots of factors, and the cultural ones certainly can't be discounted... the eyes of the beholder do matter.Cool Harley photo, Mark, but where's the photographer?
Lloyd, I like the second photo of your wife. For the first one, I have a question, a long one:
When I see portraits that are technically good, like this one, but taken slightly from above, I get an uneasy feeling. Partly, it looks uncomfortable for the model, who has to look up, secondly, the amount of hair tends to exceed the amount of face in the photo and lastly, but most important to me, (possibly because I live in a country where the level of one's head compared to others in the room is a deciding factor with regards to status and respect) is that you place yourself above the model.
When the angle contributes to the artistic qualities of the photos, it's a totally different matter, but in most cases, I can't see that it does. Is it me that is totally off here, or do I have a point?
Thanks Mark. And this is a stunner.Jorgen....Rich,Colorful Images! Excellent!
Lloyd...Thank You! The shot's of your Wife are So Nice! What an Athlete!
D300, 24-70
Ah... now I see you It's easier to figure out when looking at the reflection in the tank.Cool Harley photo, Mark, but where's the photographer?
I do that as well, most of the time, or when I think it matters. However, for much of what I post here, I'm just messing around, trying new things, or looking for people's reactions to those ideas, so I think less in advance about the reaction of the viewer(s). I think about it more if I'm shooting something for someone else, or attempting to convey a particular message. And like you, I've driven my self crazy in so doing, and changed my position on the subject numerous times. If I'm not (shooting for someone else, or attempting to say something in particular), I just do what I like, and the viewers can agree or disagree as they please.I mostly try to imagine myself in the position of the viewer when I take photos, at the same time asking myself: what is my (the viewer's) relationship to the subject. That's a tricky question sometimes, and I could go on answering that for hours, days and weeks, possibly disagreeing with myself a number of times on the way
Now this is an instant classic. Part Alex Webb, part HCB... :thumbs:Race Point Beach, Provincetown, Ma
D300, Sigma 50
Great photo, and again, your processing makes this into pure joy :thumbs:Race Point Beach, Provincetown, Ma
D300, Sigma 50
See what you mean with the 200mm f2 (the one and only lens i keep dreaming about), and not sure the PP can give this unique feel of focal separation... otoh it's so bulky that you'd probably have missed the shotWow... thanks guys. Glad that you liked them.
Here's another one. This is one of those moments when a 200mm f/2.0 would have made the photo better, with the people in the background a little bit more OOF... if that lens had been on my camera. In this case, I didn't even have time to stop down to f/2.8, so I probably shouldn't think about it. I still like the concept though, so I post it anyway.
Like the bear shots very much, Matt, they're very tri-dimensionnal.Still processing photos from last year's trip to Northern British Columbia (Khutzeymatteen). A couple of rowdy teenagers. Thanks for looking. Cheers.
nice what type of strobes? damn this site is killing me I just bought a chamonix and now I want portable studio lighting...damn...Fiddling around with my studio strobes last night, working on some concepts for my wife's cycling/triathlon team's website. This isn't one of the concept shots, I was just getting the strobes dialed in. Here my ever-patient, live-in model is standing in front of an OctoDome, and is lit by a Mola beauty dish.
D3; 85/1.4 @ f11, 1/250, ISO 200: