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I am trying to make sewage treatment look interesting so this is a shot of a pair of digesters we have recently refurbished. Letterbox crop seemed to suit on this occasion. Would it look better with a person in the shot and, if so, where would he be best placed?
Phil
| Brand: | NIKON CORPORATION |
| Camera: | Nikon D90 |
| Lens: | 10.0-20.0 mm f/4.0-5.6 |
| Recording media: | RAW (digital) |
| Date Taken: | 23 Jul 2012 - 8:38 AM |
| Focal Length: | 10mm |
| Lens Max Aperture: | f/4.0 |
| Aperture: | f/16.0 |
| Shutter Speed: | 1/80sec |
| Exposure Comp: | 0.0 |
| ISO: | 200 |
| Exposure Mode: | Manual |
| Metering Mode: | Multi-segment |
| Flash: | No Flash |
| Title: | The Aliens Have Landed |
| Username: | |
| Uploaded: | 4 Aug 2012 - 6:57 AM |
| Tags: | Architecture, Digester, Membranes, Pipework, Sewage treatment |
| VS Mode Rating |
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| Votes: | Voting Disabled |
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Comments
Its your choice whether to have a person in shot, but with the title I would suggest that ET might be better. You have succeeded in making these digesters look interesting.
A very nice industrial landscape, well executed. 1/80sec @f16 ensures good DoF and is well within a young persons steady grip range.
V2 I prefer, as again I do feel the converging verticals in V1 require some correction which you seem to have done on V2.
Frank
PS. Did you meet Lynne and ET or were you elsewhere at the time?
Didn't see V2 before but it is much better with the adjusted verticals. ET approves too.
Of the two, I prefer V2, Phil.
My reasons are: It doesn't look so squashed, the piping is less dominant, it feels more balanced, and the piping isn't obscuring one of the domes.
However, I prefer the metallic look of the piping in V1 as opposed to the blue in V2.
As to the placement of a figure, which I think would look good, the obvious place is at the bottom of the steps, or walking into the shot from the right and approaching those steps. Alternatively, around where that rectangle is on the ground, but I don't suppose you can remove that because it's part of the reality of the shot.
Pamela.
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