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Comments
There's a lot to like about this. you have exposed well, but there a couple of areas where I think you could lift it. First the processing has left it little flat. Our cameras are designed to capture everything in a scene and the result is a flattening of the contrast. Have a look at your histogram in your processing software. My guess is that there's a flat part of the histogram at each end. In "Levels" if you pull the little triangles at each end of the histogram until they just meet the start and end of the histogram you'll find that the image comes to life.
Compositionally, the well in the centre is a lovely echo of the whole building and accentuates your framing. However, th lighthouse mechanism bottom right blocks my way into the space. Maybe another shot from the level about would fix that.
All the best,
Alan
Compositionally, the well in the centre is a lovely echo of the whole building and accentuates your framing. However, th lighthouse mechanism bottom right blocks my way into the space. Maybe another shot from the level about would fix that.
All the best,
Alan
You did well with this. Geometry is good for 28mm.
If you look closely at where the vertical centre of the image is, you will notice is a little bit to the left in the image; look at the arched doors at the end and you will see a little more space between the post and the door at the left, so very minor, suggesting you needed to move slightly more to the left.
Its a good average exposure, meaning you have the skylight handled well, which will also have the effect of leaving the floor area slightly underexposed. In photoshop this is easy to balance with a layer mask and a levels or curves adjustment.
Thats really all Ive done in the mod. You might find it appears more vibrant.
regards
Willie
If you look closely at where the vertical centre of the image is, you will notice is a little bit to the left in the image; look at the arched doors at the end and you will see a little more space between the post and the door at the left, so very minor, suggesting you needed to move slightly more to the left.
Its a good average exposure, meaning you have the skylight handled well, which will also have the effect of leaving the floor area slightly underexposed. In photoshop this is easy to balance with a layer mask and a levels or curves adjustment.
Thats really all Ive done in the mod. You might find it appears more vibrant.
regards
Willie
Interesting capture. In this type of photo the positioning of any people is important . In my experience timing is critical and the capture may take some time. The three seated people in the foreground gel well but the four walking in to their left less so.
If you were to study some images by the greats of this type of capture you will see what I mean, timing is everything.
Good one though,
Ian
If you were to study some images by the greats of this type of capture you will see what I mean, timing is everything.
Good one though,
Ian
Thank you all. The mod does look sharper Banehawi, especially on the beams and balcony detail.
There's a tiny bot of skew to the columns at the top of the picture - you were high up, pointing your camera downwards, and you've got ever-so-slightly diverging verticals.
My mod corrects these, copies Willie's sharpening and messes up the white balance a treat: sorry. I missed the bit about predominant cream colour in your text!
I also used Levels to give the midtones a darker feel, which may be what Paul was looking for.
Your point about manual showing you how the settings interact is well made: that's a good way to do things. Sometimes, I get the feeling that many people use manual a bit slavishly, and that they don't actually learn anything form the process... You are setting out to learn from it: and I'm delighted!
My mod corrects these, copies Willie's sharpening and messes up the white balance a treat: sorry. I missed the bit about predominant cream colour in your text!
I also used Levels to give the midtones a darker feel, which may be what Paul was looking for.
Your point about manual showing you how the settings interact is well made: that's a good way to do things. Sometimes, I get the feeling that many people use manual a bit slavishly, and that they don't actually learn anything form the process... You are setting out to learn from it: and I'm delighted!
This works really well, Joyce, and you obviously chose the right format. It's also a good exercise in symmetry, or even non-symmetry.
The scene holds a lot of interest and gives an excellent vision of what the museum is like.
As Willie says, you were not standing perfectly central to achieve perfect symmetry, but it doesn't spoil the image. I couldn't help trying to get things looking just a touch better, though.
The arched dark entrances are not in the middle of the frame, but I didn't want to alter that aspect because I would have lost that bit of machinery in the bottom left foreground.
After I straightened the verticals, I noticed that the centre of the ceiling light did not correspond to the centre of the two archways. I ignored that and decided instead to concentrate on the symmetry of the diagonal lines, where they meet the frame edges. The use of perspective correction seemed to sort that out.
I cropped off a bit of the ceiling light because it kept pulling my eye, being the brightest part of the scene.
To show you the difference, referring to Ian's comment above, I cloned out the group of people walking into the scene at the bottom.
Then just some contrast adjustments.
Pamela.
The scene holds a lot of interest and gives an excellent vision of what the museum is like.
As Willie says, you were not standing perfectly central to achieve perfect symmetry, but it doesn't spoil the image. I couldn't help trying to get things looking just a touch better, though.
The arched dark entrances are not in the middle of the frame, but I didn't want to alter that aspect because I would have lost that bit of machinery in the bottom left foreground.
After I straightened the verticals, I noticed that the centre of the ceiling light did not correspond to the centre of the two archways. I ignored that and decided instead to concentrate on the symmetry of the diagonal lines, where they meet the frame edges. The use of perspective correction seemed to sort that out.
I cropped off a bit of the ceiling light because it kept pulling my eye, being the brightest part of the scene.
To show you the difference, referring to Ian's comment above, I cloned out the group of people walking into the scene at the bottom.
Then just some contrast adjustments.
Pamela.
