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I'm quite pleased with the print I made from the version above. As usual, the thrill of making the image tends to ignore any flaws it may have and it might not hold up over the next few weeks, or I might like it more and more. Sometimes you realize it's just silly, or perhaps clever but absolulely nothing else - no soul - always a risk with this kind of image. Other times it acquires more meaning or more emotion, or makes you think of connections, contrasts, or similes.
People tend to assume that these relationships that make an image for the artist remain constant, but in fact there are many examples of artists providing alternate explanations for an image's value years later, as their circumstances, experiences and mood change. It isn't a big step further then to imagine that the viewer brings their own circumstances etc. to seeing the print and those experiences may be entirely different from what the photographer had, or planned, or anticipated.
And guess what, that's entirely as it should be.
And below, the original full frame image:
Both are focus blends of half a dozen images, 24-70 L, Canon 5D3, Helicon Focus for the blending, processed in Lightroom 4 and exported to Photoshop for additional work
2 comments:
An interesting subject-certainly one of the make-mundane-interesting school of photography. Quite impressed at the focus-stacking too - wouldn't've thought that necessary, but still.
Only thing I'd say, coming afresh to the image as a newcomer, is it feels a trifle lacking in contrast - no shadows to imply light.
Tim:
agreed. The print I brought to the office this morning is sig. more contrasty, the soil almost black and the dark folds of metal much deeper.
I think I should also give this image a try in black and white. That would drop out the green grass almost entirely and there really is only one colour there - rust and white.
George
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