DigaPixBlog

More manipulated photos off the Internet.

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There are many details the photographer has little or no control over at the time of the shoot.  In truth there are many details the photographer does not even notice until the image is printed or blown up on the screen.  But these imperfections can prove distracting to the viewer and take away from an otherwise wonderful photograph.

This is a delightful illustration of children at play.  This candied image catches the girls enjoying themselves on their own without adult direction of supervision.  This can be seen by the gathering of people in the back ground with their attention diverted in another direction.  This grab shot captures a natural moment and tells a strong story.  I particularly like the placement of the three subjects and the  rim lighting on their hair.

There are a few small distractions I would like to point out to the photo-artist.  The first thing that catches my eye is the white string on the sleeve of the child in front in the mouth of the young lady in the rear.  The front girl’s foot is tangent to the bottom edge of the frame.  This can be modified but it will take some cloning work.  The last thing I would note is the object on the ground behind the leg of girl number two.  This distraction could be eliminated.

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Symmetrical or semi-symmetrical subjects can cause a dilemma for the photographer trying to select a composition.  Sometimes they can work on the center line of the illustration but they can appear static and graphically boring.  Or they can be placed off center but where?  With no leading lines this layout may result in an uninteresting composition.

This photographer has gotten up close to capture the circular pattern in this hibiscus flower.  He has determined that slightly off center would be the best place for the pistil leaving the pin wheel pattern of the petals on the center line of the image.  I believe this was a reasonable compositional choice.

I think I should point out the image is not quite sharp.  When photographing a subject it is normally important to keep the intended focus of our attention as sharp as possible.  The photo-artist may want to try using a ’sharpen’ and ’sharpen edges’ filter on the computer to make the pistil area snap.  This will give more of a feeling of depth to the image.

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When we first start out in photography we have a tenancy to include more information in our photographs than is necessary; too much sky, too much foreground, etc.  The photographer needs to say to themselves what in this scene interests me so much that I want to photograph it?  Then they must eliminate everything else that is not important in the telling of the story. 

This image from Asia has a nice feeling of an exotic location.  I like the placement of the small gathering of buildings off to the left side of the composition.  The riverbank and the trees work well as a leading line to the subject.  The color in the brown river is a nice rich hue.

The first suggestion I would make is to reduce the amount of sky.  It has very little detail and is not important to the photograph.  At the same time some of the sky reflection in the river can be cropped out.  This will allow the viewer to concentrate on the subject, the river bank and the village.  If the photographer has access to a computer with Photoshop or some other photography software I would suggest using the burning tool to darken the nice blue hills to give them more body.  This would also help the lighter areas of the river.

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Cropping an image can make a big difference in the graphics of a composition.  There are times we want to change the location of the subject or remove unnecessary or unwanted details in the illustration.  It is best to do the cropping in the camera but when we are editing the images the first question should be is this shot worth keeping and the second is how can I improve this photograph. 

This zoo shot has a nice natural feeling to the environment.  The photographer has captured the bear the moment before he is about to leap into the emerald green water.  It almost looks like if he were to lean forward just a little more he would fall in rather than jump.  The exposure is excellent keeping detail in most of the whites and dark shadows.  The subject is placed off center with room to move into the frame.

I would like to suggest a little tighter crop, not to just remove unnecessary information but also to accentuate the precarious posture of the animal about to tip into the pool.    The image is a little soft.  It can be sharpened by using a computer ’sharpen’ filter.

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One in a thousand photographers is born with the eye.  They have a natural ability to see images.  For the rest of us we have to acquire this capability.  This can be done a number of ways; taking photo classes, self education thorough reading about photography and composition or getting feedback and seeing other photographers work.  The purpose of this blog is to give honest feed back and let you see other people’s compositions with an eye to what works and what does not.  We all have a lot to learn by seeing the images of other photographers and deciding what to take away from the experience.

This scene of a young lady feeding the geese has a lot of potential.  There is a nice inner action between the girl and the birds.  I like the placement of the main subject off center with the birds entering the frame from the right. 

I would like to make some suggestions.  On the left edge of the frame there is a person’s hand entering the frame from nowhere.  This can easily be cropped out.  In the background we see a portion of a building which takes away from the natural environment of the scene.  This would be difficult to crop and still keep the same composition but vegetation can be cloned in over this distraction.

There are two other things that can be improved on the computer.  The image appears to be a little overexposed and shifted to the light side of the spectrum.  The last issue is a little more difficult to change.  There are too many overlapping people in the frame which makes for a confusing composition.  These can be reduced using our old friend Mr. Cloning but it will take some time to get it just right.

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The San Xavier del Bac Mission is located just south of Tucson Arizona on the Tohono O’odham Indian land.  This mission, which was constructed from 1783 to 1797, is one of the most beautiful in the southwest.  A major restoration has just been completed making this a must see (must photograph) if you find yourself anywhere near Tucson.

This photograph is a good example of working with a subject, looking at it from all sides at different times of day.  This shot was taken from the back of the mission near the service entrance.  If the photographer only had taken images from the front, which most would do, he would have missed this layering of domes and arches.  I feel the photographer has taken this image down to a point where it tells the story of the architecture of the structure without any distracting elements.

I would suggest to the photographer that they work with the layers on this image to give it stronger definition and saturation.  It appears to lack the dark tones that would separate the layers of white surfaces.  It will also darken the hue of the sky.

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A subject in a photograph may not always be the first thing you see.  It is often the small detail that keeps drawing your eye back like a magnet.  Sometimes this is unintentional on the photographer’s part and sometimes it is planed with great care. 

This photograph is a good example of the magnetic subject.  This silhouette is broken by the sand path that leads our eye to the table on the beach.  The sea and sky, though powerful, only act as backdrops to this miniscule feature. The light rays passing above and around the cloud in the upper left hand quadrant have a lot of potential.

I would like to point out to the photographer that the horizon is tilted ever so slightly.  The viewer’s eye is capable of picking up the slightest deviation in a scene’s horizon.  Take the rectangular box selection tool and start in the upper right hand corner and draw a box down to the edge of the horizon then across the image.  You will be able to confirm the tilt of the edge of the sea and sky.

Like the preceding image the sky can be modified in hue and saturation on the computer to give a more dramatic effect if the photo-artist cares to.  If you want to get a better understanding how to accomplish this on the computer check out the ‘Dazzling Photography’ web site.  http://www.dazzlingphotography.com/

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How much computer manipulation should a photo-artist do to the original image?  As much as they want is the answer.  Just recording the scene is not enough to create stunning images.  It often requires modifying the results from the camera in the darkroom or the computer to achieve the photographer’s vision.  Ansel Adams was known for his photography but also for the zone system that made the manipulated results more stunning.  He would work the prints form the same negative a number of ways in the darkroom before he got the result he wanted.  http://www.anseladams.com/index.asp?PageAction=VIEWCATS&Category=22

This sunset silhouette has a lot of potential.  The prow of the boat is nicely placed pointing into the sunset.  The islands on the horizon do a nice job of adding interest.  I like the way the texture of the water surface complements the patterns in the cloud formations.  The photographer has just enough tone detail in the boat to prevent it from becoming a solid dark mass.

I would like to make a few suggestions to the photographer.  The first thing I notice is that the horizon is not straight.  It is important that this line on seascapes be as horizontal as possible, the eye will detect the slightest tilt.  Another concern that can be easily corrected is the black dot in the clouds.  This may have been caused by dirt on the lens or the CMOS sensor.  With a little cloning in the computer this can be removed.

The photo-artist can do a great deal to enhance the colors in the sunset.  Every time an image is transferred from one format to another the color saturation will shift, that is to say what you see in the camera will change a little when it is moved from to the computer, and change again when it is published on the web and again when it is printed.  So you need to manipulate it until it is as you prefer for the final medium it will be presented in.

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When the photographer finds an interesting subject their objective should be how to interpret it not now to record it.  If we only record the scene we have merely created a snap shot, but if the photo-artist is able to make the subject tell a story that grabs the viewers imagination then we have a photograph.

This photographer has elected to place his subject in the environment in such a way that the landscape reinforces the story of this old cabin.  You will note the photographer did not fill the frame with the building but rather placed it off to the one third vertical line and left the rest of the scene filled with the expanse of the mountains.  He also let part of the old structure be obscured by vegetation which adds to the feeling of abandonment in the wild.

I like the sway back curve of the roof line and the slope of the side walls which give a ‘Li’l Abner’ feeling to this shack.  I would like to see a little richer sky which could be done by selecting that area and modifying the levels on the computer.

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All photographers have their own unique way of seeing the world.  I used to work with a wonderful photographer who saw scenes completely different than I did.  We would go out on a shoot and when we got our images back, even though we had been standing side by side during the shoot, our results looked like we had been in two different counties. 

This image starts with an interesting scene.  This old bar has a lot of potential for interpretation and graphic design.  It is not always necessary to shoot the whole subject to get the idea across.  I like the way the roof line of the barn echoes the mountain in the distance, this sets up an interesting pattern.  There is a significant tilt to the subject in relation to the bottom of the frame.  This may be because the structure was sitting on a slopped surface or the photographer could possibly have been trying to actuate the dilapidated condition of the building.

I would like to make a few suggestions.  The legs of the horse in the lower right hand corner have been cut off at the feet.  You may wish to leave a little more room so we can see the entire horse plus a little room beneath it.  Along this same line the edge of the barn on the left side is at a tangent with the frame.  Perhaps leaving more room at the edge or cropping in so we don’t see the vertical corner would be a better choice. 

I would like to note that the texture in the tree is nice but the sky has little to hold our attention and could be reduced by quite a bit.

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What is the proper placement of the subject in a composition?  Some will tell you it should be on the one third intersections of the scene but I am here to say that the placement of the subject depends.  It depends on the subject and the desire of the photographer.  If the image consists of a symmetrical subject (see ‘The Courthouse July 8th) it is natural to center the illustration.  There are times when placing the subject at extreme edges or corners adds drama to a composition.

This composition works very well because of the subject placement and the feeling of diagonal movement.  This photo-artist has created a work with the subject in sharp focus while the rest of the scene is in blurred movement, quite unexpected.  You would normally think of the bee moving and the terrestrial flowers stationary.  It’ like we are seeing the world through the perspective of the insect.

The foreground flower is placed at a sixty degree angle which leads our eye naturally to the pollinating insect.  The suggestion of motion in the blurred background is also at sixty degrees.  This reinforces the feeling of movement.  Note that the background behind the subject is simple without distractions.  The photographer has also avoided starting the stem of the flower at the corner intersection.

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Graphics play a large part in the composition of any work of art.  It often takes more than an interesting or exotic subject to make an image more than a text book shot.  That is to say what may be of interest as a specimen will not always be artistically strong to the viewer.

This photograph of a sea anemone(?) was apparently taken in an aquarium under UV or black light, thus the blue-green hues.  The depth of focus is well done starting with the tips in the foreground and getting softer as the depth increases.  The photographer has managed to fill the frame with the subject to eliminate any distracting elements.

This is a good photograph of this specimen however I wish there were something of more interest going on such as a small fish swimming among the tentacles.  But I suppose if a food source such as a fish entered the area it would be history in no time.

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Water, as we all know, can take many forms; gas, liquid and solid, depending on the temperature.  In photography this element takes on many of the same characteristics, depending on the shutter speed used.  The slower the shutter the more frothy its appearance and in converse the faster the shutter speed the more solid it appears.

This photographer has elected to use the slower shutter in order to create the feeling of a mist of falling water.  What I particularly like about this image is the number of layers starting with the rushing rivulet in the near foreground back to the still water followed by a series of steps to the top of the frame.  An inexperienced photographer would probably focus in on the primary water fall and not given the viewer the detail in the foreground.

This photo-artist has narrowed the view to only the detail information required to tell the story of this waterway in the forest.  The inclusion of the logs in the stream implies the nature of this wild and natural waterway.

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Photos of friends and family are the ones we will look at years from now and remember with fondness.  They document our lives and give us a history of joy and regrets.  They the first thing we will take if our homes are threatened by fire of flood and yet they are of no value to the rest of the world.

The photographer has done a nice job of isolating the subject by eliminating the unnecessarily background.  The foaming water tells the the story of a day in the pool at the age of seven (?) when the best thing in the world on a summer day is to be in the water.  The expression on his face is natural and full of the joy of the day.  I like the nice soft light with natural flesh tones.

This photographer has not made the common mistake of placing the face of the subject squarely in the center of the composition.  The photo-artist might experiment with moving the boy even further off center.

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Photography has many levels and many purposes, from the snap shot of the kids to the archival quality print.  An image that is significant to one person is irrelevant to another and an abstract photograph hanging in a gallery is just a bunch of jumbled lines to some but high art to others.  There are only two people that can decide if a picture is good or not, they are the photographer and the viewer.  However they will not always agree.

This landscape taken in Ojai California does a nice job of representing the caricature of this small agricultural area.  In the foreground we see a field of commercial lavender, with palms and young citrus trees in the middle ground backed up by golden hills in the distance.  The field of lavender has a nice graduation of detail receding into the tree line.  This is a good candidate for a local calendar or post card about the regain.

If the photo-artist wished the foreground area could be selected and the color punched up even more using the levels and curves on the computer.  It’s always a call between as seen and as imagined. 

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We have all experienced a place or situation we wanted to photograph because of the atmosphere, there is a feeling about the time or place that we want to capture.  It’s a hard thing to do.  You can’t just record it, you must interpret it.  Sometimes this can be done by focusing in on a detail, perhaps there is a contrast within the scene we can exploit, or maybe some graphic interpretation will get the story across.

This abandon set of shops has a lot of potential and I can see why the photographer wanted to capture the feeling of this architecture.  The photographer has taken advantage of the exaggerated singe point perspective to lead our eye along the face of the building.  The pastel colors and poorly maintained aluminum awing takes us back thirty years to when this was a viable business district.

I would like to recommend to the photographer that they try a little more interpretation with this shot.  Perhaps get down lower, or higher.  They might consider cropping or finding interesting detail within the scene.  We should avoid recording the scene and try finding a way of emphasizing and integrating the atmosphere.

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Sometimes we have an image that we like but it just isn’t right somehow.  It could use something extra to make it different, more interpretive.  So we turn to filters, both on camera and on the computer.  Sometimes they work and sometimes they don’t.

The photograph presented here was filtered on the computer to give an affect of rain on a window.  I like the placement of the primary subject off to the right looking onto the city below.  You will note that the horizon is about one third from the top of the layout.  The bulk of the image is in hues of brown and tan giving a nice muted effect.

There is one thing that concerns me about this photograph.  I feel the filter went a little too much over the top.  There is too much softness in the scene.  Perhaps if the gargoyle was a little sharper and the city was the same blur there would be more feeling of depth and less of a filter effect.  This could be done by selecting the gargoyle and applying the filters twice at different intensities.

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Animals, domestic or wild, don’t take direction very well.  They do what they want to do and the photographer has to capture the moment when the opportunity arises.  The moment passes so fast that if you are not ready the opportunity will be gone.

The image of the running horse was captured at the right moment.  The animal was in at play, racing around the field.  If the photographer had waited one second more they may not have gotten the shot.  There is good action in this composition; two legs are off the ground while a cloud of dust indicated that the horse is moving fast across the arena.

One of the rules in photographing a moving subject is to leave room in front of the subject to give space for it to move into.  This composition breaks this rule leaving only a small amount of area.  However I think this layout works quite well perhaps because the horse seems to be making a turn to the left.

I also like the soft high key background.  This gives a dream like quality to the photograph.

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Often when we have one chance to get our shot the photographer has to live with the background that is there. While sometimes we get so enamored with our subject that we forget to see the background.  In either event the background can do a lot of damage to our composition.  Today thanks to computer software we can alter the photograph or drop in an entirely new background.

This little fellow does not know if he wants to be here on top of this mountain of a rock.  It’s a long way down and he is not quite sure and it looking for assurance or his rescuer.  The photographer has used a fill flash to offset the subject form the background.  This has worked well in filling in the shadows and taking down the background. 

There are two things the photo-artist could do to modify this image.  First the background has two primary distracting elements; the phone poles with lines and the white sky.  These can be reduced or eliminated with cropping and cloning.  The second thing we might consider is that the flash has done a nice job on the boy but the rock was also affected and has become over lit and a little fake looking, almost like a Hollywood rock.  By selecting the rock and playing with the levels and contrast this can be altered.

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There are a number of slot canyons in the American southwest.  For a list of these works of nature look on ‘The American Southwest’ web site http://www.americansouthwest.net/slot_canyons/index.html.  These are a favorite of photographers because of their remarkable light, color and patterns.  One of the best times to photograph these remarkable features is a high noon when the source of light reverberates off the walls.

The photographer here has attempted to give scale to the geological features by adding a person to the scene.  His fellow photographer dressed in blue ads a counter point to the rust reds of the canyon walls.  You will note the reflection of the rosy hue on his shirt and jeans.  This shot was taken at sometime other that noon.  The hues are almost pastel with little contrast in the shadows.

The subject is well placed in the composition but it would have been nice if he were in a more active posture, perhaps semi profile looking through the camera photographing.  A little more color and contrast could be added using the computer if the photo-artist wished.

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What is meant by the term when wet say to a photographer “Great seeing”? We all see don’t we, yes and no.  Some people are able to see new ways of photographing the subject, clever ways to tell the story.  It may be best expressed using the old saw ‘thinking out of the box’. 

This is a clever portrait of the small child.  It not only frames the subject but tell the story that we are seeing this baby through the eyes of the parent or grandparent.  Note how by focusing through the lens of the glasses the subject is in sharp focus while the rest of the room is completely out of focus yet in context. 

I would like to suggest cropping in a little closer.  This will take the face of the subject of the center line while enlarging the center of our attention, the face of the child. 

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It’s a grand thing to experiment with different techniques such as “zoom motion blur”.  This method of taking a photograph consists of using a relatively slow shutter speed and a zoom lens.  The idea is to zoom the lens in or out during the time the shutter is open.  This is best done with the camera on a sturdy tripod.

A zoom motion blur was used in this image.  You will not it gives the illusion that the tulips are in motion, like metallic balloons rapidly ascending.  This illusion is enhanced by the photo-artist with the forty five degree tilt of the scene.  This shows an excellent sense of pre-visualization by the photographer, that is to say she saw in her minds eye what she wanted the end result to be before the shutter was tripped.

Two similar images were submitted.  I have selected this version over the other because of the extra room at the top.  I feel this longer version gives more of a feeling of movement then the other image, there is someplace for the subject to go.

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Shillowets require enough detail to tell us what they are and at the same time be simple enough to be understood at a glance.  At the same time they normally need delate in the rest of the composition. 

This photograph taken at the aquarium uses the shillowet to its fullest.  All the lighting is on the inverted seal and the background grotto.  The source of light is such that none falls on the boy, the colors of the seal look natural while the background has the aqua blue of an underwater scene. 

This is a very simple photograph with hummer and heart.  The viewer gets the feeling of the seal showing off and playing with the child from another world.  Almost like ET.  The boy’s head is turned so we can see just enough of his  features to see he is looking at his underwater friend.

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On camera flash has destroyed more photos than anything I can think of.  The light set over the axis of the lens creates harsh shadows, red eye, flat images and washed out colors.  Other than that it works pretty well.  If we do use the on camera flash it should be used as a fill light or for special effects such as stop motion shots.

The photo presented of this toucan has a natural looking background even though it appears to have been taken in an aviary at the zoo.  The photographer was able to get some detail in the black feathers of the bird.

However the on camera flash has given us a very flat image almost two dimensional.  The single point source light created very dark shadows on the surface of the tree that looks very unnatural.  The animal is exotic and colorful but perhaps the photographer would consider looking for a way of interpreting the subject in a more interesting way.

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Candid photography often turns out as uninteresting snap shots, the stuff that only a relative could enjoy.  They are generally poorly composed, poorly lit shots of children at birthday parties or other holidays.  The stuff that if seriously edited would result in most being thrown away, except they remain in a box at the back of the closet.   It is rear that one means anything to the unbiased viewer.

This photograph is an exception to the candid shot rule.  This charming image of a child and his grandfather enjoying a day at the air show has a universal message, the wonder of a child’s imagination.  The grandfather also has that look of the young boy’s amazement and interest in this vintage aircraft.  This is a symmetrical composition with the primary subject standing in the center of the frame with the structure mirrored on both sides of him.  With both faces looking up our eye is drawn to the top of the frame.

I would like to suggest doing a little burning on the face of the child to take down the exposure about thirty to fifty percent.  Also the photographer may want to consider coming in a bit closer to the subject.  This could be done with a little cropping.

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Some subjects lend themselves to certain formats.  A tall building generally looks natural using a vertical format and a long train would lend itself to a horizontal.  Panorama shots are normally wide and narrow.  That’s not to say you should not take chances and experiment.  Keep in mind just because the camera is setup with a particular aspect ratio you can re-crop to you own format size.

The image we have here has been shot so that the sun is visible in the scene.  The photographer has done an excellent job of reducing the lens flair.  You can still see a little in the water just under the bridge but it is almost unnoticeable.  The exposure is a good compromise.  I like the bird placed in the sky on the opposite side of the frame from the sun.  The shore makes a nice diagonal graphic.

I would recommend trying to crop this shot to more of a horizontal format is possible.  Another thing the photographer could have done was to get down just a little lower to change the relationship of the beach to the bridge and reduce the amount of smooth water.  This would give a little more texture to the image.

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Not all subjects are beautiful or even pleasant.  Some are true and disturbing.  This does not take away from their quality or our need to be shocked and surprised provided the photograph is done in a tasteful way.

No one can say that this disturbing image is pleasant.  But it is true.  The graphic of the fly in the tear duct tells a story we all know and may not want to think about.  But it is true.  The composition is well done and the photographer has reduced the image to show enough of the subject to tell the story.  It’s like a theatrical performance with a really bad villain.  The more you hate the evil character being portrayed the more you have to admire the performer’s abilities to act.

There is one suggestion I would like to mention.  The light area on the forehead is over exposed, blown out.  This can be improve a little by using the burn tool on the computer or in the darkroom but there is not enough information in the original to completely bring out the detail.

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A few weeks ago I went to a local art show that is held every year.  An old acquaintance has been showing and selling her work there for the past few years.  She is a good photographer, good enough that she sells her work regularly.  But I have noticed something interesting and disturbing.  She has gone commercial.  She only shoots one subject, the one that sells.  I have seen the same images in her booth for the past three years, nothing new.  Most of the work on display compositions of horses.  You may ask what’s wrong with that?  Nothing except that’s all she does, the same subjects photographed in the same way, she has lost her ability to be creative and experiment.  This lady has become a one trick pony.

The portrait of this magnificent animal reminds me of one of the caricatures in the old paintings of dogs sitting around a table playing poker.  This shot brings out the personality in the animal.  Give him a bowler and a five cent cigar and he would fit right in.  The photographer has managed to keep the background simple and the focus on the eyes. These are two important requirements of portrait photography.

I would like to see a little more depth of focus so we could get the face sharp from the tip of the nose to the tip of the ears.  This can be done by using a larger f-stop or a shorter focal length lens.

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I am going to try to describe this as simply as possible without using my hands.  When photographing architecture with an SLR camera parallel lines have a tendency to taper together, what is call “key stoning”.  This is what happens when you shoot up at a tall building and the print looks like the top of the building is narrower than the bottom.  This is caused because the lens plane and film plane are always parallel.  “Key stoning” can be prevented with SLR cameras by not tilting the camera but keeping it perpendicular to the ground.  If you want to have true parallel lines in tall building shots you need to use a bellows camera with adjustable tilts and swings for the lens and film plane.

The photograph presented here is a good example of reducing “key stoning” while using an SLR.  The photographer has paid attention to the vertical lines and kept them under control.  The image is slightly under exposed but this gives a feeling of mystery while the architecture emits power and permanence, almost foreboding.  This is one of the cleanest architecture photographs I have seen in sometime.

There is one suggestion I would make.  Viewers are used to seeing some tapering of vertical lines but they expect the horizon to be straight.  Otherwise they consider the subject tilted.  In this image the stairs are the horizon and they are tilted about one half degree to the left.  It may be better to make these parallel to the bottom of the frame and let the verticals tilt a little.  Life is full of compromises.

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