At 11/23/2020 04:26 PM, you wrote:
>> I had the John Shaw book once, Closeups in Nature, but all I remember was
>> about mounting a lens in reverse thread to make a macro lens out of it and
>> how extension tubes decrease exposure. Things are different today, with
>> digital cameras capable of fast capture (no auto winder required), photo
>> stacking software, sharpen AI... So if John Shaw's influence is there, it is
>> in the way back unconscious.
>
> From a technical perspective, I agree with you. But it's the actual
>pictures. I still have that book and just took a peek at it to make
>sure I wasn't talking out of my hat. There is a style of "flower
>portraiture" that you do which is consistent with Shaw's style from
>that era. (in the digital era, I think he jumped the shark). Again,
>it's not copying, but it is consistent. The one thing you do which I
>admire is your ability to have the flower actually take on a 3D
>characteristic that makes it look physically 3D right on the screen.
>It's as though I can reach through the glass and touch it. EVERYBODY
>can dance the "bokeh", and that's not what I'm talking about. Yours
>has a depth and brightness variation that makes it take on a physical
>trait that isn't usually seen in photography, but is typically seen in
>paintings by the masters.
Funny, I posted on facebook and the jumping out only evoked the reaction of
"ouch, that could hurt me" reaction. Perhaps only photographers can appreciate
what you say about the image.
When I was taking this photo, I just saw the image through the camera and it
looked interesting. I did have soft focus and bokeh in mind as this lens speaks
to that capability. So I was just exploring. I think you give me too much
credit. I would say I was just having fun with that lens.
>> Of the photographers that influenced me, besides this list with many
>> insightful comments, would be Rod Planck and Galen Rowell. Galen's work was
>> so way beyond anything, I felt dumbstruck looking at it. I wish he was still
>> around.
>
>A few weeks ago, I was looking at the stock image sales reports, and
>the bulk of the images that are selling well show people doing things
>in a way that shows inclusion of the viewer. This is a style that,
>frankly, originated with Galen Rowell. He directly influenced a
>generation of photographers, but in turn created a standard that the
>next generation of photographers have no idea the origin. There was
>really nobody successfully creating and selling those images before
>Galen Rowell.
>
>But even his nature photography without people, showed a brilliance
>and inspiration that revealed a very complex technical understanding
>of eye-flow and emotion. He is missed!
>
>
>> Of course the web, today, is teaming with influences and inspirations. Moose
>> has been particularly helpful.
>
>I agree that there is an abundance of influence and inspiration right
>now. As to "groundbreaking" advancements of style? Probably not so
>much. I think we're seeing almost a "group think" advancement. One
>person does something new, the next person adapts it, the third person
>perfects it, the fourth person uses that as a means to do something
>else completely new and the cycle repeats.
>
>Along with this, I do recognize how much I'm copying from others these
>days. I'm seeing that I got myself into a loudness trap with my
>landscape photography and I don't know how to get out.
>
>AK Schnozz
You may have a point. Although I feel a lot stuff I see online is going no
where. But I don't think I would characterize your shots as "loud".
One site that offers digital art gallery for hotels and such. I perused some of
the artists and found myself becoming quickly exhausted looking at the images.
More like being bombarded. As if they were trying to out do it by going over
the top. You think your images are screaming... When they become exhausting to
look at, time to turn down the volume.
Here is me going over the top with Topaz studio:
https://photos.app.goo.gl/SgJwhJkAqEYXunZE9
WayneS
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