The photographer is looking for generalized feedback about the aesthetic and technical qualities of their image.
Description
I was from the begining captivated by Weston’s studies of rocks at Pt Lobos. It was the nuanced tonal variations that so fascinated me. I tried to capture that magic here with wood and sand. It’s a small drama of light and dark. Have I succeded?
I think you’ve mostly succeeded. I love the tones.
I’m a little uncomfortable with the framing, though. The image seems to end abruptly and somewhat arbitrarily at the top. The large piece of wood could use a little more breathing room if your original shot permits that.
Igor, for me it’s difficult to give a value to your latest images. Because they are so yours , so Igor Doncov.I do appreciate them, but I am not good enough to give you valuable comment on this images .
For now I prefer to give a like or handsup to show my appreciation !
I am looking at Edward Westons work now. I expect there is something to learn for me.
You’ve definitely succeeded in terms of tonal and textural variation. That is what grabs my attention from the get-go. It is similar, in that respect to the image you posted recently of the weather worn bush on the beach. But with this one I’m not quite so sold on the composition. Maybe it’s the point of view - shooting from above - I’m not quite sure. It feels too distanced, objective and thus lacks the emotional impact that I felt from the earlier one. It feels like you’re moving towards something but not quite there. I wish I could offer something more substantial. In any case, I think what you’re exploring here is exciting.
Yes, even though the two are of the same subject they are quite different. Comparing the is like apples to oranges. It’s like comparing a still life to a landscape. A different mindset is needed for each one.
In terms of this one I see it as a study of form. The way to look at is to feel it’s presence with your eyes. To imagine stroking it and feeling it’s grooves and sinews. Even the sand has feel to it for me. So it’s more of a sensory reaction rather than emotional for this one.
As far as not being quite there. I was doing some thinking on a similar line. I came to the conclusion that nothing ever is ‘quite there’. No painting is ever perfect. One of the reasons is that perfection doesn’t exist in art. Perfection exists in mathematics where truth can be achieved because we’re dealing with concepts. But art deals with change, capturing change, approximation. This came from this mornings readings of Descartes who as I understand was looking for truth and perfection in a world of chaos. I’ve been spending a lot of effort looking at the relationship between photography and perception, cognizance. Fascinating stuff. But I’m rambling now ……
Igor,
IMO you have succeeded rather nicely in your objective. This intimate landscape has a lovely range of tones as well as some wonderful textures in the sand. The driftwood reminds me of a crab scurrying across the sand with it’s pinchers out. My only real suggestion would be just a little more canvas up top as the driftwood feels a little tight. Fascinating image.
I’ve been on the road the past week and am late to the party Igor, but your goal of drama of light and dark intrigued me. I played a tad with it in Photoshop, and came to this exact same conclusion. I prefer it a little less dark.
