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Blue
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Blue
On Thu, 11 Jun 2009 07:52:22 +0200, "MJK" wrote:
"Home" ... protect planet http://images-piegees.over-blog.com/...-32501655.html Not too bad. Though with such a small subject it's a bit lost in all the empty space. You might have had a little more impact and impression by tightening up on the subject without losing much in the composition. Much of the beauty of nature is in the details. (Ever photograph diatoms or snowflakes through a microscope? You'd know what I mean. This last winter I invented a new dark-field lighting system just for accenting the intricate crystalline facets of snowflakes.) The intricacies of the venation in the wings would have been a good contrast to all the empty space if you had made that a larger part of the image. Not to mention catching a wider range of all the intense blues available there. The wings were exposed well and there could have been lots of fine details to hold and entertain the eye longer. Otherwise, not too bad. You could have had a little more impact too by watching your background--arranging the main subject so it is outlined by one of the lighter fields in the bokeh. The dark of the intensely-blue wings against the light. See that large patch of lighter blue just to the left and down from the damsel-fly behind the brightly-lit leaf? A slight shift in your vantage-point could have brought that oval out-of-focus area to frame the main subject like a stage-light, it's shape also mirroring the curvature of the wings. The lighter leaves too would have then been outlined by the darker greens. Even better is if you could have found a light bright-green area in the background to contrast the darker blue wings to frame and highlight them. Contrasting both in intensity and color. More subject contrast, more compositional focus (not optical focus), more reason for a viewer's eye to stay. Pay attention to everything that is in your camera's FOV even if it is out of focus. The subconscious mind takes it all in. Beginners and amateurs never realize that the out-of-focus areas in backgrounds and foregrounds are just as important, if not more-so at times, than the main subject(s). Maximize the use of it all to keep a viewer's eye engaged. You can't easily change that in editing, just like when shooting with a polarizer, this must be done at the time of shooting. Pay attention to it all before you even think about pressing the shutter. A good photographer attacks/survives his photography like a person who is riding out a bad car-accident. Everything is in slow motion, your senses intensely heightened. In that short period of time that you have to capture the shot you'll make hundreds of subtle and important decisions on when to trip that shutter and make it all count. One second can seem like an eternity to a good photographer because they are assessing everything all at once. This is what makes the difference between the 99.9999% of all snapshooter camera owners and the rare few real photographers. At least this shot beats that other low-level remedial "My best ever!" damsel-fly posted earlier by some 1st-grade beginner that wasn't even worth the viewing time. And thanks for not trashing the subject with some egotistical "LOOK AT MY NAME!" water-mark crap. Any photography that has ever been submitted to me for approval or inspection was immediately rejected when they try that remedial beginner's ego nonsense. Like some kindergartner jumping up and down in his seat, wanting everyone to know their useless name and never doing one thing worth remembering other than that. Like "Timmeh!" on South-Park. No difference. |
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