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Comments
I wasnt too sure what you wanted from a Critique with these. Then I looked through your portfolio, you have a lot of very nice images, and I can see that you generally know what youre doing.
A question or two. Are you double exposing in-camera? It seems you may be. If thats the case, you dont have a great deal of control over which is more dominant. This is an assumption, as Ive not done any multiple exposures for many years.
To get a lot of control over the finished image, you may be best to use post processing, and a single image. That one image can be duplicated and overlaid on the first. and its position altered, overlay style altered, opacity changed, and with a layer mask, overlaps can be reduces or removed to make either the wire or the bramble more prominent.
Does this make sense?
V1 is the more attractive image for me of the two.
Regards
Willie
A question or two. Are you double exposing in-camera? It seems you may be. If thats the case, you dont have a great deal of control over which is more dominant. This is an assumption, as Ive not done any multiple exposures for many years.
To get a lot of control over the finished image, you may be best to use post processing, and a single image. That one image can be duplicated and overlaid on the first. and its position altered, overlay style altered, opacity changed, and with a layer mask, overlaps can be reduces or removed to make either the wire or the bramble more prominent.
Does this make sense?
V1 is the more attractive image for me of the two.
Regards
Willie
It is nice to see both barbs ,I would like to.see it a little lighter
Billy
Billy
Thank you for taking the time to look and reply, Willie.
Yes, the exposures are all in camera. It is a really interesting feature and I have only just started experimenting with it. I am interested to see the wide range of effects that are possible with the in camera technique. This idea occurred as I saw the bramble and wire so a 'spur of the moment' image. It seems there is quite a lot of control over the blending of the two exposures by varying the overall exposure compensation for each step. The camera offers plenty of control over the contrast / saturation of each exposure (can even change lenses if I want to). I really need to keep practicing and learning which subjects work together well
. An interesting challenge! Jacqui
Yes, the exposures are all in camera. It is a really interesting feature and I have only just started experimenting with it. I am interested to see the wide range of effects that are possible with the in camera technique. This idea occurred as I saw the bramble and wire so a 'spur of the moment' image. It seems there is quite a lot of control over the blending of the two exposures by varying the overall exposure compensation for each step. The camera offers plenty of control over the contrast / saturation of each exposure (can even change lenses if I want to). I really need to keep practicing and learning which subjects work together well
. An interesting challenge! Jacqui
Hi Jacqui, I'm glad to see you in the Critique Gallery again. I have been enjoying your portfolio for a while - you have an eye for the strange in everyday objects.
To start with, this is a clever and thought-provoking idea. Barbed wire carries so many historical and emotional overtones within our human world, involving the bramble suggests hostility and aggression in nature.
Particularly if achieved entirely in camera, this is a fascinating exercise, and comparison. In conventional, pictorial terms V2 is more successful, the barbed wire gives a stronger dominant structure than the bramble. But emotionally V1 wins hands down for me. The barbed wire is ghostly, eerie rather than dominating, suggestive of dark forces. This is what the bramble dreams of becoming...
I'm going to have a little play with it, I know you have aimed for in camera blending of the two exposures, but I would like to very slightly strengthen the barbs that fall forward, towards us, and the horizontal bramble stem if I can. To suggest a marriage rather than superimposed layers.
I'll upload a Modification if I can come up with something.
Meanwhile thank you for a challenging, intelligent upload.
Moira
To start with, this is a clever and thought-provoking idea. Barbed wire carries so many historical and emotional overtones within our human world, involving the bramble suggests hostility and aggression in nature.
Particularly if achieved entirely in camera, this is a fascinating exercise, and comparison. In conventional, pictorial terms V2 is more successful, the barbed wire gives a stronger dominant structure than the bramble. But emotionally V1 wins hands down for me. The barbed wire is ghostly, eerie rather than dominating, suggestive of dark forces. This is what the bramble dreams of becoming...
I'm going to have a little play with it, I know you have aimed for in camera blending of the two exposures, but I would like to very slightly strengthen the barbs that fall forward, towards us, and the horizontal bramble stem if I can. To suggest a marriage rather than superimposed layers.
I'll upload a Modification if I can come up with something.
Meanwhile thank you for a challenging, intelligent upload.
Moira
Thank you, Moira. I am glad you take the time to look at my images as I respect your work and ideas very much. I also find myself nodding vigorously when I read your comments on images - your perception seems to resonate with my own very often. I look forward to seeing a mod from you - marriage is always a preferable option over superimposition! 
Jacqui
Jacqui
Glad you like it. I'll just add that I have done this with film, long ago, never got round to doing it digitally. This might jog me into it! Beyond relative exposure, the challenges are scale and precise placement, and you've cracked those perfectly.
I like skulking in shadows too...
Moira
I like skulking in shadows too...
Moira
Rather interesting and wil, cause conflicting discussion. Nice to see something different being attempted and quite successful. In the film days we often had to use multiple exposure and I often did with T90 or Mamiya mediunm format. Getting the final total exposure correctcwas always a probkem although, if I got it wrong, I tended to over expose. This looks just a touch under.
I would leave the drop ahadow presentation alone in this type of section.
Paul
I would leave the drop ahadow presentation alone in this type of section.
Paul
I've no comment on the nuts'n'bolts here... I'll leave that to the mechanics as they're better at it than I am. (Though I think V1 could benefit from a Levels tweak, just to increase the tonal range.)
V2, it seems to me, is about the wire. It tells of the inspiration behind it, and no more. At least that's how I read it. A simple story.
V1, on the other hand, is stronger and tells a darker tale, about our relationship with Nature. I see the ghostliness of the wire as it creeps over the bramble, quietly absorbing and corrupting it, taking the concept and perverting it. It's Man, of course, and as usual he's up to his tricks.
Alan
V2, it seems to me, is about the wire. It tells of the inspiration behind it, and no more. At least that's how I read it. A simple story.
V1, on the other hand, is stronger and tells a darker tale, about our relationship with Nature. I see the ghostliness of the wire as it creeps over the bramble, quietly absorbing and corrupting it, taking the concept and perverting it. It's Man, of course, and as usual he's up to his tricks.
Alan
It's only relatively recently that multiple exposure in digital cameras has become a feature.
I remember doing it in camera in the film days when I shot transparency. Darkroom workers could combine any images together at their leisure, just as Photoshop users do now albeit with more control.
And that's a point to note, as despite the various controls you have, software alows so much more by allowing changes to opacity and blending modes and the possibility of masking certian parts of the image as desired.
However, there is a lot of fun and experimantation to doing this in camera, and it can yield great results.
In cases such as where you are building up an image of the same subject from cumulative exposures it may be easier to do it all in camera.
Do not discount either method
Keith
I remember doing it in camera in the film days when I shot transparency. Darkroom workers could combine any images together at their leisure, just as Photoshop users do now albeit with more control.
And that's a point to note, as despite the various controls you have, software alows so much more by allowing changes to opacity and blending modes and the possibility of masking certian parts of the image as desired.
However, there is a lot of fun and experimantation to doing this in camera, and it can yield great results.
In cases such as where you are building up an image of the same subject from cumulative exposures it may be easier to do it all in camera.
Do not discount either method
Keith
V1.. there's such harmony even if infested with too many thorns.. i used to do it once with my manual camera .. FM10.. that was fun too.. specially shooting myself a couple of times and acting as twins.. the game is always difficult.. though fun but most of the times out of one's control.. even then, in light-shadow images, the shadowed part can be used as it will completely allow the second image to form..
