Looking for constructive criticism...
Jan 17, 2018 16:49:58 #
Jan 17, 2018 20:56:43 #
Some additional information I neglected to enter earlier. Taken with a 35mm prime lens, f/7.1, 1/1000th, with a ISO of 640. vz
Jan 18, 2018 07:54:01 #
vonzip wrote:
on this. vz
Hi! Is the barn your subject? Do you have another chance to photograph it? If so, I would get closer, and find something especially interesting to hone in on.
Taking your image as is, and if it were mine, I would cut the foreground tree on the right and also cut the fence, leaving just the far-right top post. This would bring the barn a bit closer to the viewer.
I like your sky. I think this barn has a lot of potential.
Jan 18, 2018 09:26:57 #
ediesaul wrote:
Thank you ediesaul. Valid points I will take in consideration. vzHi! Is the barn your subject? Do you have another chance to photograph it? If so, I would get closer, and find something especially interesting to hone in on.
Taking your image as is, and if it were mine, I would cut the foreground tree on the right and also cut the fence, leaving just the far-right top post. This would bring the barn a bit closer to the viewer.
I like your sky. I think this barn has a lot of potential.
Taking your image as is, and if it were mine, I would cut the foreground tree on the right and also cut the fence, leaving just the far-right top post. This would bring the barn a bit closer to the viewer.
I like your sky. I think this barn has a lot of potential.
Jan 18, 2018 10:53:45 #
If you do try it again, may I suggest a different time of day? The light in the photo is coming from high overhead, leaving the sides of the barn in shadow. Earlier in the day, or later in the day (depending on the building's orientation), would get illumination on the sides, and quite possibly some interesting shadows.
Jan 18, 2018 11:23:00 #
The stuff on the extreme right of the frame is OK but there's just a bit too much of it and it's leaving the photo unbalanced. If you took the bottom right corner in and up a bit it would cure the imbalance and give more prominence to the barn. And as stated, the shadows aren't doing you any favours.
Jan 18, 2018 12:04:17 #
It's a nice barn and a pretty scene. I like the fencing. I can see why you would shoot it. My issue is that it's quite static. Nothing is moving - or even moveable. If there were a horse in the pasture, that would help. I shoot lots of static images, but usually because there is some element of particular interest. I don't see one here. Sorry if that's too blunt.
Jan 18, 2018 14:01:15 #
htbrown wrote:
Good point. Thanks ht.If you do try it again, may I suggest a different time of day? The light in the photo is coming from high overhead, leaving the sides of the barn in shadow. Earlier in the day, or later in the day (depending on the building's orientation), would get illumination on the sides, and quite possibly some interesting shadows.
Jan 18, 2018 14:02:44 #
R.G. wrote:
Thanks for weighing in R.G. vzThe stuff on the extreme right of the frame is OK but there's just a bit too much of it and it's leaving the photo unbalanced. If you took the bottom right corner in and up a bit it would cure the imbalance and give more prominence to the barn. And as stated, the shadows aren't doing you any favours.
Jan 18, 2018 14:40:12 #
AzPicLady wrote:
Hi Az. You're not being blunt at all. I posted here to learn and get feedback. Thank you for commenting. vzIt's a nice barn and a pretty scene. I like the fencing. I can see why you would shoot it. My issue is that it's quite static. Nothing is moving - or even moveable. If there were a horse in the pasture, that would help. I shoot lots of static images, but usually because there is some element of particular interest. I don't see one here. Sorry if that's too blunt.
Jan 19, 2018 20:32:59 #
Technically I don't see any fault. The weak points are timing and composition. It seems a bit odd to have dark walls and a bright roof and I think it would be much better the other way around. I suggest waiting until the sun is shining onto the side of the barn we are looking at. Then walk around the barn completely looking for more interesting compositions. Take 20 pictures from different angles to assess which works. I see a possibility at the end of the fence that has the gate in it. A shot from there in the right light would give you an excellent leading line - the fence leading us right to the barn. The composition here puts the fence across the image between us and the subject. The composition is quite static (read boring if you are not too offended) with most lines running across the image from side to side and no compositional diagonals (the diagonals of the roof don't count) which add tension and interest to any composition. Best advice - work the scene. Walk all around, lie down on the ground, climb up on the fence, get a step ladder, look at your subject from every possible angle and distance. I'd love to see some more pictures of this barn. The way I see it, any way.
Jan 20, 2018 09:07:35 #
mcveed wrote:
Thanks mcveed for you insight and taking the time to convey that to me. This will be applied towards making me a better photographer. vz.Technically I don't see any fault. The weak points... (show quote)
Jan 22, 2018 11:01:05 #
vonzip you have received a wealth of thoughtful ideas on your query... Since this image's centerpiece is architectural i.e. a barn. Please allow me to share my experience with commercial architectural assignments. I'm oft recruited as a lighting assistant by many commercial photographers in my market. Without exception strong contrasting ranking illumination is the dominate "go-to" As such I typically have to arrive at the photographers studio hours before dawn to travel to the site and setup to catch dawn's first light which the photographer has calculated precisely and previously scouted the venue days in advance to locate the most optimum lens angle(s).
However this is for a limited commercial market, and few on this site are actually working in that genre. To this end I actually believe you may be attempting to render a landscape with an agrarian aura. As such have you looked to the masters of same? btw, apprentice artist are generally required to reproduce the works of masters in the genre in which they seek to work. Only after gaining proficiency in the aforementioned are they encourage to develop there own voice i.e. visual statement. I for one religiously study the masters endlessly in hopes to reverse engineer their techniques. I would suggest you consider the same.
You might start with "realist" Andrew Wyeth who's accolades are considerable.
In the examples below Wyeth breaths life into what might have been a sterile landscape.
Illumination scenarios for both images is the wonderful "Mother Nature's Softbox" i.e. heavy overcast.
Such lighting is endearingly gentle on all elements... and likely should never be overlooked as a viable option.
Of merit is the back story to "Christina's World", which I highly recommend reviewing. Once you understand this narrative of the crippled subject you will likely understand why his masterwork is considered to be one of the finest creations in editorial realist art.
vonzip when I initially began my journey with a camera landscape were a favorite since I could fail miserable without embarrassment. However as soon as I became comfortable with my technique I moved immediately into the genres of portraiture, beauty and fashion and have never looked back....
Least you feel compelled to "conform" with other hobbyist or peers here are thoughts by several artist who just happen to have gotten their heads around the concept of achievement in the visual arts...
"Following rules of composition can only lead to a tedious repetition of pictorial cliches" Edward Weston
"There is nothing worse than a sharp image of a fuzzy concept." Ansel Adams
Hope this helps or is at least food for thought.
I wish you well on your journey vonzip
However this is for a limited commercial market, and few on this site are actually working in that genre. To this end I actually believe you may be attempting to render a landscape with an agrarian aura. As such have you looked to the masters of same? btw, apprentice artist are generally required to reproduce the works of masters in the genre in which they seek to work. Only after gaining proficiency in the aforementioned are they encourage to develop there own voice i.e. visual statement. I for one religiously study the masters endlessly in hopes to reverse engineer their techniques. I would suggest you consider the same.
You might start with "realist" Andrew Wyeth who's accolades are considerable.
In the examples below Wyeth breaths life into what might have been a sterile landscape.
Illumination scenarios for both images is the wonderful "Mother Nature's Softbox" i.e. heavy overcast.
Such lighting is endearingly gentle on all elements... and likely should never be overlooked as a viable option.
Of merit is the back story to "Christina's World", which I highly recommend reviewing. Once you understand this narrative of the crippled subject you will likely understand why his masterwork is considered to be one of the finest creations in editorial realist art.
vonzip when I initially began my journey with a camera landscape were a favorite since I could fail miserable without embarrassment. However as soon as I became comfortable with my technique I moved immediately into the genres of portraiture, beauty and fashion and have never looked back....
Least you feel compelled to "conform" with other hobbyist or peers here are thoughts by several artist who just happen to have gotten their heads around the concept of achievement in the visual arts...
"Following rules of composition can only lead to a tedious repetition of pictorial cliches" Edward Weston
"There is nothing worse than a sharp image of a fuzzy concept." Ansel Adams
Hope this helps or is at least food for thought.
I wish you well on your journey vonzip
Jan 22, 2018 11:14:59 #
Thomas902 wrote:
Wow Thomas, Thanks very much for your in depth reply. Lots to think about. vzvonzip you have received a wealth of thoughtful id... (show quote)
Jan 27, 2018 14:06:14 #
htbrown wrote:
If you do try it again, may I suggest a different time of day? The light in the photo is coming from high overhead, leaving the sides of the barn in shadow. Earlier in the day, or later in the day (depending on the building's orientation), would get illumination on the sides, and quite possibly some interesting shadows.
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