On 11/17/2011 7:49 AM, Ken Norton wrote:
> I like these shots. Pretty standard compositions in some regards, but
> with great eyeflow.
Yeah. I don't know about Nathan. When I go out with a 'special' camera that's
requires more attention and has limited
numbers of exposures, I know I get conservative, not wanting to waste shots. I
also tend to push myself to find a shot
where I would ordinarily pass if I didn't have the special camera on an outing.
The result of these two contradictory impulses in me tends to be pedestrian
subject/compositions. That's one way digital
freed me up. I could take the risky shots with no marginal cost or risk of
missing a better shot later. Way more of the
'risks' worked out than I would have imagined.
> I'd "moosify" them just a hint by bringing the blacks down a touch more, but
> otherwise the tones are great.
I thought about that, but really, there are pure blacks in every image. I can't
see where bringing down the lower tones,
or most of the other stuff I might usually do to Moosify wouldn't take away the
misty day feeling. It's possible to make
them 'better' images of the solid subjects, but if the overall subject includes
the mist, not so much.
> That camera/lens/film/photographer combination produces beautiful tones and
> very crisp images.
You gots two films here, bunky, first four Tri-X, last two Delta 100. I have no
idea what that means, though.
I agree that many images from this camera and photographer have lovely
tonalities, although a few have been less
successful to my eye. As to crisp images, hmmm. Here, it's not an issue. Some
other images have been less than crisp.
How much of that is lens/unflat film, etc. and how much downsizing, I don't know
What drives me a little crazy is the vignetting. If I could just get into a
"these are vintage photos" mode, I suppose I
wouldn't mind. In this set, it varies, probably with varied aperture.
Moose
--
What if the Hokey Pokey *IS* what it's all about?
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