Instant Sunrise wrote:This is a photo I took of a production back in July that I did a lot of reworking on a few weeks back. As always, feedback is welcome.
Ace basically said everything I'd say about this one. It's a good snap, though - just 'almost' enough. I think the Indy shot is quite well done though; your steadiness paid off in keeping the car sharp but abstracting the background. The cables are encroaching on the wheels a bit, but you work with the point of view you've got.
Bounty wrote:EDIT: I might as well contribute
It's ~1
o (
nice!) out of plumb and bright sky pulls my eye up and away from the street; those are my main criticisms by far. But the setting is good and the people are well-placed in it, and I think at base it's a decent photo. With your permission I'd like to use this one for Photoshop practice, and if I manage to get a good result I'll post it here.
I'm still learning about proper exposure (hooray for functioning light meters!), but I'll pass on a couple of bits from two of my books. They might come in handy - but if this is nothing you didn't know, my apologies.
Michael Busselle, [i]Better Picture Guide to Black & White Photography[/i] wrote:An exposure meter, whether it's a built built in TTL meter, or a separate hand meter, works on the principle that the subject it is aimed at is a mid-tone, know [sic] as an 18 per cent grey. ...With most subjects the reading taken from the whole of the subject will produce a satisfactory exposure. But if there are aspects of a subject - when it contains large areas of very light or dark tones, for example - the reading needs to be modified. An exposure from a white wall, for instance, would, if uncorrected, result in underexposure and record it as grey. In the same way, a reading taken from a very dark subject, like a portrait of an African tribesman, for instance, would result in his skin being too light.
Henry Horenstein, [i]Black and White Photography: A Basic Manual[/i] wrote:The most accurate system for exposing film is to take the light reading only in the darkest shadow area of the subject and then compensate. The general rule is: Take the reading in the darkest area and expose for two stops less. The darkest area should be the darkest area where some detail is desirable... If the shadow areas of the negative are properly exposed, the highlights will fall into place in most cases.
Horenstein is hitting the outer edges of the Zone System, but I'll not go there because there's no way I can state it succinctly.
My contributions:
I was in the middle of a snowstorm, and the storm broke for a few minutes just as the sun was finished setting. I was loaded with monochrome, so I whipped out my snapshot camera and did what I could with it. Sorry about the noise.
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. Fucking good Bokeh, though there isn't enough light to appreciate it here)).
