Specific Feedback Requested
What I like about this picture is how, at first glance, it is almost impossible to sort out the actual branches from their reflections. It all becomes one form in how the branches and their reflections come together and lend a dynamic directionality to what would otherwise be a chaotic jumble. So, on the one hand, there is the calm silence that I experienced when I took the picture. But, on the other hand, there is a dynamism that creates a tension that is much more apparent to me now as I look at the picture then when I was out there taking it.
As always I am most interested in the extent to which this image has some aesthetic or emotional impact - the extent to which it affects you - but any technical feedback concerning composition, colour et al would be most appreciated.
Technical Details
I didn’t find I had to do much in the way of post-processing aside from white and colour balance , adding a bit of clarity and texture to the branches, and fiddling with the aspect ratio a bit.
This is a really great image in my opinion. It rises above the subject matter to one of suggestive abstraction. And one of it’s best features is that it visually doesn’t look like something else which I think causes the viewer to stray from the intent of the image. In fact, becoming aware that some lines are branches and others are reflections may detract from the visual experience. Also, I feel that’s it’s better viewed as a whole rather than on small individual components. I do, however, really like the small squiggly line in the open space in the center right.
As you implied, this image does not evoke a sense of tranquility but one of heightened alertness. I don’t sense either danger or optimism in this image. Now that I looked at it longer I am attracted to the gap between the two large forms and how smaller object pass through that gap. For some reason I find that consoling.
As a side note. I you look at the large version at any dark subject and then move your eye away from it you will see the same subject as white for a fleeting moment before your eyes adjust.
PS. I do, however, want to make a suggestion that I’m sure will come up later. That small vertical line in the lower left that crosses the long diagonal one - I find disturbing. I don’t know if that’s a good thing or not but I would experiment with removing it.
Fascinating, Kerry. The water must have been incredibly calm. I also, had to stare at it for several minutes before determining where the water & reflections began. On an emotion level, the straight branches along with the sharp angles create an abstract, inquisitive, wanting to just sit and look at it more feel. Not sure that makes a lot of sense, but for me, I like it precisely because it makes me want to keep looking at it. Would be great on a wall just to stare and get lost. Nicely done.
The high key approach on this one works quite well, Kerry. The composition gives it a dramatic feel that keeps me engaged. For some reason, I am drawn to the bit of space between the branches, just to the right of center. I go there, then wander around the image, and end up back there. Cool.
I think this would make a mighty fine print.
I’m terrible at figuring out how an abstract image affects me, except in terms of how interesting it is, and this one is definitely interesting. I agree that the gap in the middle is the key element. I find it a little distracting or bothersome that the one twig and its reflection exit the frame, though.
I’m loving your intimates Kerry. This is exceptional. I immediately feel like there is a tremendous pull from outside the left side of the image. Almost like a magnet is pulling everything towards whatever is out there in the void. The branches are bending and maybe even breaking/shattering as they are being pulled to the left. I feel like everything is in motion and that the magnetic pull is breaking the object apart. In this respect, I feel like that single vertical stick that Igor mentioned is actually helping, maybe preventing the object from being pulled into the abyss because it’s grounded, staked and is the only element in this entire scene that is NOT bending or leaning. The branches that are actually touching the side of the frame emphasize this pull that I’m talking about. Normally, I wouldn’t want these branches to be touching the edge of the frame but it really works well here.
I wouldn’t know if this was snow or water at first glance because you are correct, you just don’t notice the reflections at all. Your use of the grayish framing makes the high key really pop. I love the brighter and warmer ULC and the darker and bluer LRC. I think this is perfect as a color image and wouldn’t work quite as well as a black and white because of those very subtle colors. This is magnificent. I would title this “Shattered”
I do like your image Kerry, but I find it a little confusing. It has, for me, to many elements.
I n this types of images I always try to focus on some cleaner “design” elements.
I would clone some elements out.
On the other hand, your processing is very pleasing, so is the way you present your image.
I really like this one, Kerry. An excellent abstract take and I really like your high-key interpretation. I took some liberties to provide a little edge space and cropped a bit off the right for balance to my eye. This one gives me a real nice otherworldly feel and look and invites me to delve into the structure again and again.
Kerry,
This one is quickly growing on me. First impression is simply trying to figure out what’s going on. Are these sticks floating in the air? Reflections? What reflections? You’re right, nearly impossible to figure out. Then I’m thinking, what is the interest in a pile of sticks? But it quickly becomes an amazing image. The mystery of, is it sky, water, what is going on here?
The processing works beautifully as presented. I do like where Harley is going with the space on the left edge and the quick edit reveals this… however, if you like that I would spend a little extra and make sure the left edge doesn’t have the exact distance to edge for each stick and give enough room consistent with the other 3 edges. But your original framing works as presented too - fits the rule of, “if you’re going to cut something off, make sure it’s on purpose…” And I don’t get the sense the edge was breached on accident… So, all is good there.
So yeah, this grew on me. Went from a random pile of sticks… to a much more sophisticated work of photographic art.
Lon
@Igor_Doncov - Thanks so much for your in-depth response. Your first sentence pretty much covers my hope for this image - that it rises above it’s subject (what it is “of”) to a level of abstraction (what it is “about”). And my further hope is that what it is about will be as various as those who care to look at it. And yes, along with the all the “arrows” pointing to it, it is the gap , I believe, that give this image its creative tension. That being said, I certainly wasn’t thinking about all of this when I took the picture - it was just a gut response, which sometimes pays off and sometimes doesn’t.
@linda_mellor - Thanks, Linda. To hear that it draws you to some kind of relationship with the chaos and order of it is very complimentary indeed.
@David_Bostock - Thanks so much, David. I think that bit of space is what gives it the drama and not something I was even consciously aware of when I took the photograph.
@Diane_Miller - Thanks for your thoughts and feelings on this. Yes, I agree, the gap is what gives the image its creative tension. As to the twigs exiting the frame, while clearly not to everyone’s taste, for me I find the lack of containment (by the frame) suggests either emergence or retraction (as @David_Haynes pointed out) that adds a bit of mystery.
@David_Haynes - Much thanks for your feedback, David. Your observation that there is a pull is very interesting to me because I assumed just the opposite - that of emergence into the frame. I find it very pleasing that it can work both ways - complimentary opposites. It’s interesting that your take is that the stick in the LLC effectively grounds the image. I hadn’t thought of that except that after considering it in post, I felt it had to stay. And yes, having the branches exit the frame is not usually recommended but I felt that the image lost some of its vitality if the entire structure was contained without ambiguity.
@joaoquintela - Thanks, Joao. Your feedback is always appreciated. While I understand your point completely, in this case I’m wanting to celebrate the confusion rather than attempting to eliminate it. But hey, that’s why there’s chocolate and vanilla 
@Harley_Goldman - Great to have your feedback and “hear” your voice, Harley. I do get your point around edge space, but for me, the space seems to drain some of the life out of the image and my preference is to leave it as is.
@Lon_Overacker - I am so delighted that you found this image intriguing or mysterious enough to hold your attention. And yes, “If you’re going to cut something off, make sure it’s on purpose” - as I’ve said above, I feel the image has more of a vital, emergent quality because it extends out of the frame and providing space around, from my perspective would undermine that tension.
2 Likes
