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Sooty_1's Activity

Sooty_1 > Sooty_1's Activity

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Forum Topics:2
Forum Comments:1127
Photo Comments:1114
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Megan in Catsuit

Megan in Catsuit by Philo

To me, the pose doesn't suggest disengagement, but a confident and perhaps feisty young girl.

The problem is not to use a more adult pose and potentially sexualise the image, which I think is pretty good considering limited space and a 28mm. There is a little evidence of her nearer arm being lots larger than the other, but the pose minimises this, and the direct look and slightly confrontational feel typifies teenagers doing their own thing.

I would prefer a slight crop from the bottom, and a tiny bit of off-centre, and the background slightly brighter, but it's all fixable.
I would also suggest you get her to lift her chin slightly, it stretches the neck slightly and lightens the feel a little.
You could try props, because it gives her something to do with her hands without making it an adult-style pose.

I'm sure she'll be pleased with the result though.


60007 Sir Nigel Gresley

60007 Sir Nigel Gresley by 6024ke1

You're right, it isn't sharp!

Most of the train is behind those straggly branches too...you might have been better off waiting a second and taking the shot with it closer to you and slightly more side on. That way, it would have filled the frame more and had more impact. If this is a one-off opportunity, you would have been as well to shoot a continuous sequence to have several options later.

Unfortunately, if you can't open the aperture enough on manual, an auto mode won't be able to either. I'm guessing you might have had some time to make decisions prior to the shot, and you knew you wanted a high shutter speed, so you might have been better to shoot a couple of trial shots before the train arrived, in order to get the settings right ahead of time. A couple of shots of the rails where the train would be should tell you if you have the exposure correct and the correct point of focus.

This is one of those "so nearly" shots....a great plain background (the cutting), a great subject (the classic loco), what looks like a good focal length lens, and what looks like a relatively uncluttered position.
The poor light can be dealt with (as long as you get it exposed and focused correctly) as can any minor compositional tweaks, but if it isn't sharp.....

In this position, I'd shoot manual, or perhaps aperture priority, and check the speed is going to be high enough, if not adjust the ISO to get a reasonable shutter speed.

The other option, is to go slower and pan the shot as the train passes, getting it as sharp as possible, but with blurred wheels and background. Better to practice that in a non-important shot if you're not too familiar with the technique.


Rattray Light

Rattray Light by andy2703

I can't see the lighthouse, it's hidden behind that great big logo.

The star trails aren't particularly prominent though...if you're not sure, why not clone them out and compare the images?


Teignmouth seafront

Teignmouth seafront by LouiseTopp

I think better weather conditions should be top of your priorities!
You are obviously trying different things, and credit to you, but the quality of light is the overriding consideration, unless you can inject drama some other way (a big cloud formation for instance). It's all a little sombre, and the composition doesn't really lead your eye to anything.
The stitch down the middle is obvious, even in a thumbnail, I'm sure you can do a better job than that. Most software will stitch images together reasonably well, but apart from the colour differences, there is discontinuity in the lines of the groyne.

Unfortunately for you, the angle of the groyne also makes the picture look wonky, as it's at an angle to the horizon.

It's hard to know what to suggest, but I think better light would transform this. The composition isn't bad, it just needs something for a point of interest, perhaps if the rock were lit better, that would suffice. And better stitching, of course. What software do you use?


Deep in Thought

Deep in Thought by gjfereday

Not sure why you felt the need to change the sky at all? The image is all about the jockey in his silks, and the sky would be immaterial. You could adjust it to make it less drab, but the vibrancy of the silk will overpower it anyway.

The other thing that occurs to me is that his face is not sharply focused, whereas other parts of him are...look at the folds of material on his left arm for instance. I would suggest the camera has focused just in front of him, and the shallow DoF at this aperture has not been enough.

As with your other posts though, you are shooting at a reasonably long length at a relatively slow shutter speed. You could still have gone to 400 or even 800 ISO to put your shutter speed up to 1/400 or 1/800. Even without the blip of flash, that would have been better for handholding and sharpness. The flash has had minimal effect anyway, but the -ve exposure compensation has probably contributed to the sky's darkness.

An available light shot, at ISO 800, 1/500 sec and f/5.6 should have given you everything you needed, but a slightly slower one with a bit of flash should also have worked well, provided you focused in the right place.


Across the valley

Across the valley by LouiseTopp

I'm afraid I'd have to disagree...the only thing that dominates the view here is the cathedral spire (as it was designed to do when it was built).

Unfortunately, what with the lighting conditions, lens choice etc, you have a snapshot. Nothing is so dominant in the frame as to hold interest as the main subject...everything is too far away.

If your intention was a record shot, then you have achieved it. If you wanted something more, I'm afraid you're going to have to work a little harder. A longer lens to isolate one subject would be a start. A less hazy day would be better too. I'm afraid large parts of the frame are uninteresting, and the colour balance is a little blue. I'd expect late afternoon sun to be warmer looking, but the haze isn't helping. Early morning would be a better time, or a sunny spell after a rain shower...April might be a better month for that!

Having walked around Old Sarum and Hudson's Field innumerable times, I know it isn't easy to get definitive shots..there aren't that many clear views without clutter, but you really need to think about what you want as your subject, and how you can make it dominate the frame.


No Love

No Love by NatureMom

I quite like the rendering of this picture, apart from the vignette as above. I'd like to see a few steps to the left if possible, which would move the tree from blocking the front of the house. There doesn't appear to be anything preventing you from moving to a better angle, but don't disturb the snow before you're sure you've explored fully first!


In Samuel Johnson's house

In Samuel Johnson's house by xwang

The problem with using a polariser is that the reflections will only be reduced at or near Brewster's angle, or for glass in air, around 56 degrees away from straight on...ie at quite an angle ! It would need to be further away from straight on than this picture, probably close to the wall on the right.

The best way to reduce reflections here is to move to the left, to avoid the window reflecting in the glass...remember that angle of reflection = angle of incidence, so if you are straight on, you will get your own reflection but no windows. Perhaps you could use a wider lens and shoot from lower down...you would be too low to reflect in the picture glass, but you could keep the camera back perpendicular to avoid distortions and crop from the wider view.

The best thing to use is a shift lens, but they are expensive and specialised, unless you are using large format cameras.


And they're off!!

And they're off!! by gjfereday

Firstly, I think the vignette is too heavy...real life wouldn't appear like this, and a vignette should really subtly direct your view. As the horses are the only subject, very subtle would do. The light doesn't look too good, but it's all a bit dark and could benefit from a little lightening.

I'd prefer to see the horses coming slightly towards me, rather than away from me and be able to see the jockeys faces better. That said, they're reasonably sharp, though one school might say they need to be pin sharp, while another might say motion in the legs and background would convey speed. This is a bit in between both, unfortunately. Panning from the stand is not easy, due to the distance and other peoples heads!
Maybe the pin sharp route might be better from here, so upping the ISO would enable a faster shutter speed. Here you could have gone to ISO 800, giving you 2 more stops and a shutter speed of 1/1600. That would make you safer from camera shake and enable you to freeze the action better.


Away from civilisation

Away from civilisation by LouiseTopp

For me, it looks like it should have a crop from the left and a slice from the bottom to place the left pole on a third. Whilst not a slave to the rule of thirds, I think the composition of this would be stronger for it.

The sky seems to have uneven processing, like you've had to push the sky hard to get any detail, and it looks like you've used a brush to achieve it. The golden hour is all well and good, but the light still has to be right. This might be more of a candidate for a monochrome image, as there is little real colour in the scene, but a better light would help immensely. Veiled sun is never very good for landscapes.


Belitung Island

Belitung Island by WimpyIskandar

It looks like a nuclear test.

The bad bits:
The horizon isn't level, it just needs a small rotation anticlockwise.
The brightness range is too much, you need to adjust the relative brightnesses of sky and sea...luckily it does look like you have enough information to get a good balance, there are few blown highlights and blocked shadows.
The saturation is waaaay OTT. Dial it back some to make the colours more realistic.
The composition is effectively cut in two. All the colour and detail is in the left half, the right is much more muted, and it almost looks like two images stuck together.
The good bit:
There is a half decent image in here somewhere.

I think I would have been inclined to turn a little left, get lower and raise the camera a little. That cloud formation should be the main subject, but you can make more of the small waves yet have less of them in shot. If the waves occupied 1/3 or less of the image, it would anchor the big sky, but I'd concentrate on the great light and texture of the clouds.


Will I live?

Will I live? by paulbroad

If only the chap with the glasses hadn't been there!
The woman's expression is good, she's sharp, and apart from wishing the crop was a little wider, I like the composition. Without the chap behind, she would be sharp against a muted background, and the image would be much stronger. I'd like to see all of her hand.

Unfortunately, I don't think a 105 mm lens is ideal for street shooting, because you often need a decent distance to shoot, and you get a lot of stuff in the way, unless you are only after close cropped head shots. A shorter focal length is better, and you can always crop from a wider view.
Most street shooters use a 35/50, or similar, but that does involve getting a bit closer.

I must admit, I'm not a fan of being sneaky, as when you are found out, people tend to react adversely. At least if you're open about it, there is no suggestion of underhandedness.


Cleaning my feet

Cleaning my feet by kuipje

Most has been said, and I know you're just trying out the lens, but having the subject facing you would be better! It looks like you're shooting directly into the light too, so at least you got away without flare.

Most zooms give best quality in mid-aperture, so stick to around f/8-11, and try to keep your shutter speed above 1/focal length, if handheld. Remember your crop factor for your camera is 1.6 too, so your 250mm is effectively a 400mm length, so keeping speed above 1/500 at the long end is preferable(unless you have a good reason for low shutter speeds).

Pushing the envelope of your kit is only really advisable if there is no option.


Fort st Elmo

Fort st Elmo by Sgtborg

It's pretty good, more than just a record shot, and has a nice graphic quality to it. The main problem for me, is that the Mediterranean sun can be very harsh, causing high contrast, and it really needs to be grazing across the brickwork to bring out all that lovely texture.
I'm not sure of the orientation of the fort, so I'm not sure if there is a better time to shoot, but it looks like later on in the day, the sun will move round towards the right, there may well be a time when it grazes across the face of the brickwork at a very acute angle, showing the textures off better. If the sun is lower in the sky too, it will have a better quality to it than the harsher light around midday.

The horizon is fractionally off too...I know it's going to impact on the angles of the brickwork, but the horizon is always level and is the best reference point to work from. If you need slight adjustment to the perspectives, it will only be a small amount, easily done in ps.


You are in the way

You are in the way by kuipje

Whilst I agree with most of the above, I think just increasing the ISO to 400 would enable you to up your shutter speed to 1/800.

With long lenses at maximum zoom, you really want to keep shutter speed as high as possible, as any tiny shake is magnified hugely. Remember also, that with a crop sensor, your 250mm actually becomes a 400mm effective length. You could even have afforded to go another stop of ISO to 800, as it is better to have a sharper shot with a little noise, than a blurred one. Modern cameras are better for noise control too.


Demise of a Peacock

Demise of a Peacock by salopian

I think part of the problem is that the image isn't really of anything. It looks obvious that this is how you found it, with no thought of creating the image. Lighting is a part of this, but so is creating the still life. The jumble of stones and shells isn't going anywhere fast, so better to use a tripod and longer shutter speed, then you can use available light, or as Paul says, use a lamp, torch, anything can be employed. The direct flash just blasts frontal light, which isn't flattering or particularly attractive, and even softening with a diffuser, still gives poor light for still life.

I'd suggest cleaning the stones off, then adding them to the set and seeing what it looks like. Use a sympathetic background and off-camera lighting. The benefit of continuous light, such as a lamp, is that you can see exactly what you're getting.

There are some interesting colours and textures with these items, you just need to find a cohesive arrangement and lighting to make the most of them. I'd suggest starting by raising the light somewhat, say 30-45 degrees, then moving it round to the side. The interplay of light and shadow should create more interesting looking images.


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