Discussion in 'Exhibition Lounge' started by Brian, Mar 30, 2016.
Doesn't Michael Wilford deserve some credit?
Thank you, Brian, your experiment with the taped-up 18-55mm is brave but I can understand if you yield to temptation. Despite today being the most miserable, rain-soaked, dreary day in weeks, I'm determined yet to get out and about. I now have three Fuji lenses: the 60mm f2.4, the 23mm f1.4 and the newly arrived 14mm. This ought to be enough for now - I'm still rubbing my hands in glee at the price of the 14mm. The Nikon D800 I own has not seen much service since the Fuji arrived, and thought I like the Nikon very much, the lightness and ease of use of the Fuji is very helpful especially as my hands suffer an occasional visit from our old friend, 'Arthur'.
Yes Mike the 14mm of yours was a bargain. The taped up zoom is a laugh, trying to decide between the 35 and the 23mm....in truth I know It will be both lol. Stupid really, the 18-55mm zoom is a cracking lens and of course covers both. In fact it also covers my 56mm ( almost) but wild horses wouldn't wrestle that baby out of my hands.
Rain soaked dreary days Mike.......photographers dream, hate sunshine and blue skies.
I like the shot quite alot. But more without drain cover and kerb in foreground. Just scroll image, you will see what I mean.
In my opinion the foreground details are an important element towards holding the picture in, stops the eye falling off the bottom of the page.
Edit. Just had another look and sorry, have to disagree even more.
Pete has raised an interesting point however.
When I look at this snap my eye is immediately drawn to the mass of the Lowry. Then my attention drops to the couple and in particular the dog. The manhole stops the eye straying off the left hand edge or out of the bottom of the frame, Next the viewers attention is drawn almost subconsciously by the convergence of the angles between the bottom of the wall and the kerb. The eye moves across to the right and stops, stopped by the figure of the single man. Then onwards and upwards back to the sculptural form of the Lowry. All in all an example of perfect composition, completely achieved by a monumental stroke of luck.
All to justify the plain fact that I don't crop my snaps.
Am a bit late to the party on this one, Brian, but not done to death as far as I am concerned. Can't say I've certainly seen any of the Lowry; if I have, definitely none were as strong as this. Professor Sodt & his Law dictated that the (human) overlaps would be difficult/non-optimal but it's still a high scorer in my view.
Oi! What's this? What's this?!!!
Nik pro something or other. Great idea, gets rid of that horrible digital blandness. Actually it's not that accurate, my favourite FP 4 doesn't work very well. But Pan F with the grain adjusted seems to fit the bill.
Prints made with the minimum adjustment on Marrutt Art papers really do have more then a tad of soul.
Aah, a PanF push! Got it. I go to the Pain of PanF for minimising, for a distinct lack of grain, Brian. It looks great, whatever. Cheers, Oly
Does anyone remember the early photograph that showed how a horse gallops, sheer genius. Now we have a splendid example of my control of the photographic " decisive moment" . Witness that little doggie lifts both offside at the same time..... Miracle he doesn't fall over.
And there are fairies at the bottom of my garden.
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