Rolk
Loc: South Central PA
danersmiff wrote:
I don't know if I like the photo more, or the idea of parasailing..
good shot!
Thanks, Danersmiff (Dana?).
For me, I'll keep my feet on the ground, or in the
boat, with my camera in hand, thank you very much...LOL
Tim
good set!! -- the cruise ship is anchored at the light house.. wink wink
Rufe wrote:
Balance is a compositional technique in photography that juxtaposes images within a frame so that the objects are of equal visual weight. When different parts of a photo command your attention equally, perfect balance is achieved.
These are not the greatest examples, but each picture draws you eye to each area of the picture. From the sky to the rock formations each balancing the other. From the green plants to the sun.
The lighthouse is the Portland Head Light in Portland, ME. Looks like the cruise ship is going to run into the lighthouse. All three photos were taken in Maine in 2015.
Balance is a compositional technique in photograph... (
show quote)
yes, my name is Dana Smith...
My hillbilly friends call me danersmiff , or just daner..
You can call me all 3, i will answer.....
just don't call me late for dinner...
Rolk wrote:
Thanks, Danersmiff (Dana?).
For me, I'll keep my feet on the ground, or in the
boat, with my camera in hand, thank you very much...LOL
Tim
Rufe wrote:
Balance is a compositional technique in photography that juxtaposes images within a frame so that the objects are of equal visual weight. When different parts of a photo command your attention equally, perfect balance is achieved.
These are not the greatest examples, but each picture draws you eye to each area of the picture. From the sky to the rock formations each balancing the other. From the green plants to the sun.
The lighthouse is the Portland Head Light in Portland, ME. Looks like the cruise ship is going to run into the lighthouse. All three photos were taken in Maine in 2015.
Balance is a compositional technique in photograph... (
show quote)
Beautiful, happy memories! Nice!
My approach to Visual Balance is to spot a tension between two (or more) key elements of the potential image and, where possible, develop a diagonal link. That can be visible (like the diagonals between the cats and the squirrel) or emotional (like the stare between the two ladies passing each other on a French promenade). Or the balance can be a network of diagonals, as in the merged criss-crossed cranes images. I often get the tension by composing the elements into opposing corners of the image, since the invisible diagonal of the rectangle is always there and available. In the rotting driftwood, i positioned the sleek surface in the upper left corner, contrasting it with the crumbling rot beneath in the lower right corner. Anyway, that's one way to link different elements. I think it works for me.
Double exposure - Criss-crossed cranes - 1951
Closeup of rotting ocean driftwood - 1950
Floor show for felines - 2004
Mother with blind baby - 1951
Icy French promenade incident - 1946
RichardQ wrote:
My approach to Visual Balance is to spot a tension between two (or more) key elements of the potential image and, where possible, develop a diagonal link. That can be visible (like the diagonals between the cats and the squirrel) or emotional (like the stare between the two ladies passing each other on a French promenade). Or the balance can be a network of diagonals, as in the merged criss-crossed cranes images. I often get the tension by composing the elements into opposing corners of the image, since the invisible diagonal of the rectangle is always there and available. In the rotting driftwood, i positioned the sleek surface in the upper left corner, contrasting it with the crumbling rot beneath in the lower right corner. Anyway, that's one way to link different elements. I think it works for me.
My approach to Visual Balance is to spot a tension... (
show quote)
I like 3 and 4 the most Mike.
RichardQ wrote:
My approach to Visual Balance is to spot a tension between two (or more) key elements of the potential image and, where possible, develop a diagonal link. That can be visible (like the diagonals between the cats and the squirrel) or emotional (like the stare between the two ladies passing each other on a French promenade). Or the balance can be a network of diagonals, as in the merged criss-crossed cranes images. I often get the tension by composing the elements into opposing corners of the image, since the invisible diagonal of the rectangle is always there and available. In the rotting driftwood, i positioned the sleek surface in the upper left corner, contrasting it with the crumbling rot beneath in the lower right corner. Anyway, that's one way to link different elements. I think it works for me.
My approach to Visual Balance is to spot a tension... (
show quote)
So glad to see you, Richard! Enjoyed your visual balance comments and mentation!
Rolk wrote:
Thank you, Pat...and I agree.
The second one might be a little "over processed." LOL
Here's the original image I used to create those abstracts.
In keeping with this challenge, this "vertical" image carries
more weight, and the clear blue sky with the bright colors
of the parasail add weight as well. And then there's the
"leading line" or cable, that leads you to the subject,
my lovely wife.
Thank you, Pat...and I agree. br br The second on... (
show quote)
p.8 KAPOW - Im no expert but I think you nailed it
I don't know what I have here. I've titled each by what I thought I had captured
An old dump truk, color, texture, dark vs light
(
Download)
Texture, color
Symmetry, subway entrance, Bryant Park, NYC
symmetry
Trumpet vine isolation
(
Download)
Isolation
If you want to reply, then
register here. Registration is free and your account is created instantly, so you can post right away.