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It's always difficult approaching an iconic location - how to do something different...
The horizon is perfectly level, which is good: it's also pretty much central, which (arguably) isn't. 1/3 up or 1/3 down usually produces a more interesting result.
The other thing is that there's a heavy vignette... Heavy enough to overpower the image, perhaps. Can we see an unedited version, please? I can see potential for a tighter crop, but I'd prefer to start from a 'clean' image.
The long exposure has smoothed the water nicely.
The horizon is perfectly level, which is good: it's also pretty much central, which (arguably) isn't. 1/3 up or 1/3 down usually produces a more interesting result.
The other thing is that there's a heavy vignette... Heavy enough to overpower the image, perhaps. Can we see an unedited version, please? I can see potential for a tighter crop, but I'd prefer to start from a 'clean' image.
The long exposure has smoothed the water nicely.
Welcome back to the Critique Gallery, Trevor.
I enjoy symmetrical images, and this is well done. I like the way you have the top struts going into the top corners, and the light hitting the reeds. I also like the effect of the long exposure on the water and the sky, leaving the structure nicely sharp.
I don't think the vignette enhances the image. I agree with John, and would like to see the original. You can upload it here under the Modifications option underneath your image.
You shot this mid-afternoon, with the light still very much overhead. I think that, if you are looking for a different take on this subject, you could try a sunrise or sunset shot, or even an early morning/late evening shot when the shadows would be less strong and more directional.
Pamela.
PS: You uploaded the original whilst I was typing. I'll come back later.
I enjoy symmetrical images, and this is well done. I like the way you have the top struts going into the top corners, and the light hitting the reeds. I also like the effect of the long exposure on the water and the sky, leaving the structure nicely sharp.
I don't think the vignette enhances the image. I agree with John, and would like to see the original. You can upload it here under the Modifications option underneath your image.
You shot this mid-afternoon, with the light still very much overhead. I think that, if you are looking for a different take on this subject, you could try a sunrise or sunset shot, or even an early morning/late evening shot when the shadows would be less strong and more directional.
Pamela.
PS: You uploaded the original whilst I was typing. I'll come back later.
Thanks Pamela,
I have uploaded the original version and a version with a more subtle darken lighten centre. for the time being I am restricted to getting out when the kids are at school but would love to photograph it at different times of the day. There was very little detail in the sky - not that I am complaining about sunshine.
Trevor
I have uploaded the original version and a version with a more subtle darken lighten centre. for the time being I am restricted to getting out when the kids are at school but would love to photograph it at different times of the day. There was very little detail in the sky - not that I am complaining about sunshine.
Trevor
I have no idea where this is, and dont believe Ive seen it before.
It seems theres an odd geometric issue, - to me at least, where the first post on the right is further into the scene than the one on the left; perhaps it was made this way, because correcting this causes an issue with the first plank on top, but Ive uploaded both the original alignment and one with horizontal geometry adjusted for the two near posts.
Youre intention seems to have been to make the scene more dramatic than it was, using underexposure, vignetting, added contrast and colour.
Ive not tried any of this in the mods, simple concentrated on the exposure, overall tone, and that geometry.
I noticed quite a string magenta colour cast, so I wonder if you used a filter of some sort? I used the unedited version for mods. The left side of the image seems soft, - some of this might be due to long exposure, however the sea horizon is also quite soft?
Regards
Willie
It seems theres an odd geometric issue, - to me at least, where the first post on the right is further into the scene than the one on the left; perhaps it was made this way, because correcting this causes an issue with the first plank on top, but Ive uploaded both the original alignment and one with horizontal geometry adjusted for the two near posts.
Youre intention seems to have been to make the scene more dramatic than it was, using underexposure, vignetting, added contrast and colour.
Ive not tried any of this in the mods, simple concentrated on the exposure, overall tone, and that geometry.
I noticed quite a string magenta colour cast, so I wonder if you used a filter of some sort? I used the unedited version for mods. The left side of the image seems soft, - some of this might be due to long exposure, however the sea horizon is also quite soft?
Regards
Willie
I've been looking at this for a while. It's something that I enjoy - not-quite symmetry. The structure is regular but all the bits and bobs, the reeds and weeds, are defiantly irregular. That adds energy, interest.
A 50/50 horizon split can work, but I'm not sure that it does here. The interest is really in the foreground, the reeds in the water. I've been trying to get a satisfying crop to put the horizon on the upper third, but really what it needed I think was a higher viewpoint.
My main problem with the processed version though is the heavy vignette. It's very difficult to carry off in colour, it looks too overblown. Now in b&w, that's a different matter... The reason being that b&w does not pretend to be the literal truth, it announces itself as an interpretation.
I shall try a modification tomorrow.
Moira
A 50/50 horizon split can work, but I'm not sure that it does here. The interest is really in the foreground, the reeds in the water. I've been trying to get a satisfying crop to put the horizon on the upper third, but really what it needed I think was a higher viewpoint.
My main problem with the processed version though is the heavy vignette. It's very difficult to carry off in colour, it looks too overblown. Now in b&w, that's a different matter... The reason being that b&w does not pretend to be the literal truth, it announces itself as an interpretation.
I shall try a modification tomorrow.
Moira
Thank you again for the feedback The pier is about chest high where I was taking the image, I struggle with casts in colour but don’t know enough to correct them so any tips would be appreciated. I have tried a mono version and see exactly what you mean. The lake is lough Neagh which is the largest fresh water lake in the uk and on the horizon is the bank on the opposite side of the lake.
There are so many different interpretations, the variety of mods goes to show that. That said, your more subtle vignette treatment looks good to me. Mono would take the stronger treatment more easily I think. The original is fairly flat in tone but I can see a high contrast mono in tere. Not better, just ery diffeent.
Different lighting conditions open up a myriad of possibilities. As you've seen loads of photos look at those you most like and identify the type of conditions they were shot in, as a basis for your own experimentation.
As for colour casts, use the Colour Balance dialog and experiment with the sliders. Push them all the wy then rein them back so you get an appreciation of how they work and what different casts look like. If there' a neutrl colour in the scene you can use the olour picker tool in the White Balnce dialog, click on the neutral toneand hey presto. The clouds here, mid afternoon in April, will be a good neutral tone.
Different lighting conditions open up a myriad of possibilities. As you've seen loads of photos look at those you most like and identify the type of conditions they were shot in, as a basis for your own experimentation.
As for colour casts, use the Colour Balance dialog and experiment with the sliders. Push them all the wy then rein them back so you get an appreciation of how they work and what different casts look like. If there' a neutrl colour in the scene you can use the olour picker tool in the White Balnce dialog, click on the neutral toneand hey presto. The clouds here, mid afternoon in April, will be a good neutral tone.
Thank you for the original.
I've tried a tight square crop... I also used the Spot Healing Brush Tool in Photoshop to remove a few reeds right at the bottom. I think this gives a claustrophobic feel to the image - and I can see it working well in black and white, too - as it does in Keith's full-frame modification.
A second edit then applied Nik Efex's detail extractor filter.
I've tried a tight square crop... I also used the Spot Healing Brush Tool in Photoshop to remove a few reeds right at the bottom. I think this gives a claustrophobic feel to the image - and I can see it working well in black and white, too - as it does in Keith's full-frame modification.
A second edit then applied Nik Efex's detail extractor filter.
What a great shot Trevor and one most photographers get drawn to.
The mod is only minor as there is nothing wrong with the image. I have not crpped it as I can onlt assume this was what you wanted. I did add a reflected gradient straight up the middle to draw the eye. I used a linear blend to soften the effect. I added the white border to show the borders are not too dark. Last a little vibrabce after bringing the reds down a small amout. I hope you like it.
The mod is only minor as there is nothing wrong with the image. I have not crpped it as I can onlt assume this was what you wanted. I did add a reflected gradient straight up the middle to draw the eye. I used a linear blend to soften the effect. I added the white border to show the borders are not too dark. Last a little vibrabce after bringing the reds down a small amout. I hope you like it.
I finally got back to this, I've added Mod 10 as an alternative view, because I felt more and more that while the jetty provides the structure, the real interest is in those tall reeds. So - horizontal flip for left to right lead-in; square crop for asymmetry and to put those reeds more prominently; high contrast b&w in Nik Silver Efex; dark vignetting to illustrate that it can work much better in b&w than colour. Very different from your original, but ideas for you to consider.
I think the message from me would be - look for symmetry but then see what you can do with it, look for telling quirky breaks in the formality.
Moira
I think the message from me would be - look for symmetry but then see what you can do with it, look for telling quirky breaks in the formality.
Moira
You've had a lot of critique since I was here, so I will leave it at that. It's amazing how interesting the modifications have been, and I hope you have learnt something from them.
Thank you for engaging in conversation with us, it makes so much difference.
Pamela.
Thank you for engaging in conversation with us, it makes so much difference.
Pamela.
Wow read through .... very informative and adds to learning curve ... V7 & V10 .... amasing shift & improvement to an already good image ...
