a william eggleston afternoon with the dp1

[smokysun]

a wonderful video, though i found his alcoholism disturbing:

http://www.amazon.com/William-Eggle...=sr_1_1?ie=UTF8&s=books&qid=1231808683&sr=1-1

wayne
www.pbase.com/wwp

 

[smokysun]

cont.

wayne
www.pbase.com/wwp

 

[Lili]

Very Eggelstone! Very high IQ as well
BTW adore the urban decay theme here

 

[mazor]

Very warm colours, nice light

 

[Streetshooter]

It's nice to see how people think....the last one for sure gets me as I have this thing for reflections...of any kind.......

don

 

[smokysun]

a few more, with another reflection for don.

wayne
www.pbase.com/wwp

 

[Streetshooter]

Personally, I read these images better than the ones you
do all that fancy high falutin' stuff to....
No offense intended, it's just how I read images...
don

 

[smokysun]

hmm, depends on the project, i suppose. in a talk christopher isherwood said, 'you can either describe the ordinary in an extraordinary way, or the extraordinary in an ordinary way, to get your effect.' photography tends to find the strange in the everyday. and the fact that's it's real but unreal strikes us.

wayne
www.pbase.com/wwp

ps. i've posted these and a few more at www.pbase.com/wwp/we

 

[mazor]

Hwo do you get such nice warm colors from the DP1. Is there any functions on the camera, or was there some post processing?

Mazor

 

[simonclivehughes]

Not sure if this is what Wayne has done, but an old trick is to use a "cloudy" white balance setting. It's just like putting a warming filter on.

Edit: Actually, judging from the direction and length of the shadows, it could be simply the color of the late afternoon sunlight.

Cheers,

 

[Streetshooter]

Wayne,
I find it more interesting to hear what you say than
those you quote. There's something in your vision and the
way you use it that is exciting and stimulating.
When the processing takes over, it's difficult to read true.
I am definately old school....but there's a reason for
tradition. You make good use of the tool at hand, for me, I'm
fuzzy when the vision is not clear.
Maybe that's why I'm old school.......Hmmmmmm, I don't
even think/see color......
don

 

[smokysun]

mazor,
it's a combination of everything you and simon surmised. it was late, i did shoot cloudy, but i processed raw and did some warming with the nik filters. i've loaded hundreds of plugins in the last seven years (and spent a small fortune). ultimately, the complete pro nik have proved the most useful. i experiment with an idea and filters until i get what i either want or discover. their viveza and silver efex are very nice, but you can basically do everything with the other set. there's also a book on using them, which i've bought.

http://www.amazon.com/Official-Soft...bs_sr_1?ie=UTF8&s=books&qid=1231889410&sr=8-1

that said, it's always a mixture of idea (most important) and experimentation. and today i looked at a big, retrospective book on eggleston (just out) and i realized he works much closer in and with fragments. this business of the distance at which a particular photographer shoots interests me very much. it's like we have to find 'our' perfect distance.

thanks, don. as a writer i told myself, 'not having a style is okay. hopefully, lots of different things will attract different people.' and with photography it's been the same. i'm too restless and get bored easily, so i can't mine one particular field. the big drawback of this is not being easily identified. people pay big bucks to get a piece of an artist and his/her vision, but it has to be specific and brandable.

wayne
www.pbase.com/wwp