My apologies to everyone for not being able to comment lately. I started a new job,(Haleluah!) and I have been in training for 3 weeks. I have lurked on occasion, but just have not had time to comment.
I took these last night at Whispering Pines Park. (It's close.)
I don't mean to trod on Stephen's expert work, pun intended, because he is the best in that field. (Again pun intended.) I know I can't match his talent in this style, but is anyone else besides me enthralled with the grasses right now. They are tall, and have great colors across fields everywhere.
Comments and critiques welcome, and thanks for looking,
Thanks Stephen for the comment. I will try to find time to try some softer light. I was pretty happy with the warm sunset light I was getting for these. But even warm sunset light can be a little harsh here in Colorado.
My first thought when I saw these was that the lighting was a bit harsh. Having said that, I really like #1.
Congratulations on the new job, Morris. You had been so active on the forums that I really noticed your absence. Welcome back.
You know, until you brought it to my attention, I had not paid any attention to the grasses. Great images and the blending of texture, color and of course light!
The first one is fantastic! I love the array of colors and textures you captured. Since I'm from a prairie state, I love grass (now don't go and get the wrong idea about me )
Morris, I think your deference to Stephen Weaver is appropriate for this kind of work... he really has established a precedent. Some quick observations of your posted photos:
#1 makes a V shape that pulls my eye out the bottom and sides of the frame;
#2 is very static and ends up looking like three photos in one; this one would have been better with everything sharp;
#3 the top left corner steals the show from what should be the main focus; overall I think this one just doesn't work.... but almost. I like the depth of field effect, but my eye keeps bouncing back and forth between the foreground and background, and I'm not really sure what to look at.
Making order from chaos is usually the goal in nature photography. In these kinds of shots, Weaver does this by eliminating distracting elements, emphasizing the difference in tones and colors of elements within the frame, and always establishing a key "focal point" within the frame.
With these shots, Morris, your intention is clear and the photos reflect this. I think all are good... but to be great, my suggestion would be to further simplify the comps.
Always ask "what is this a picture of?" This applies even to the most simple (or abstract) comps.
Here's a technique to try with shots like this:
1. Frame the shot in a way you like, making sure that there is one strong center of interest
2. Manually de-focus the lens, so that everything is fully blurry
3. Evaluate the comp with regard to light/dark and color variations. Adjust the framing as necessary
4. Refocus and set the aperture for the appropriate depth of field.
5. Make the shot.
These kinds of shots really benefit from very careful composition. De-focusing the lens helps identify distracting parts in the scene so you can eliminate them from the shot, or decide how to handle them in post processing. (Dodging and burning also really comes into play on these kinds of shots.)
The observer's eye will travel, of that you can be sure. As a photographer, your job is to direct the travel of the eye, within the frame, in a deliberate way.
Wow, Nat, thanks for the really detailed comment. I will certainly try to keep your advice in mind when composing my comps. Although Stephen's quallity of work with grasses is unsurpassable to me.
Also, everyone I really appreciate your encouragement and congratulations on the new job.
Angela, you cracked me up. I've noticed some of your fine grass images over on the Central States forum.
Discussion
15 repliesI took these last night at Whispering Pines Park. (It's close.)
I don't mean to trod on Stephen's expert work, pun intended, because he is the best in that field. (Again pun intended.) I know I can't match his talent in this style, but is anyone else besides me enthralled with the grasses right now. They are tall, and have great colors across fields everywhere.
Comments and critiques welcome, and thanks for looking,
Morris
Hard to tell the subject in #2 with the shallow DOF showing both the three stalks and the grasses behind them. Doesn't work as well for me.
BTW: Congrats on the new job!
Dave
Congratulations on the new job, Morris. You had been so active on the forums that I really noticed your absence. Welcome back.
#1 makes a V shape that pulls my eye out the bottom and sides of the frame;
#2 is very static and ends up looking like three photos in one; this one would have been better with everything sharp;
#3 the top left corner steals the show from what should be the main focus; overall I think this one just doesn't work.... but almost. I like the depth of field effect, but my eye keeps bouncing back and forth between the foreground and background, and I'm not really sure what to look at.
Making order from chaos is usually the goal in nature photography. In these kinds of shots, Weaver does this by eliminating distracting elements, emphasizing the difference in tones and colors of elements within the frame, and always establishing a key "focal point" within the frame.
With these shots, Morris, your intention is clear and the photos reflect this. I think all are good... but to be great, my suggestion would be to further simplify the comps.
Always ask "what is this a picture of?" This applies even to the most simple (or abstract) comps.
Here's a technique to try with shots like this:
1. Frame the shot in a way you like, making sure that there is one strong center of interest
2. Manually de-focus the lens, so that everything is fully blurry
3. Evaluate the comp with regard to light/dark and color variations. Adjust the framing as necessary
4. Refocus and set the aperture for the appropriate depth of field.
5. Make the shot.
These kinds of shots really benefit from very careful composition. De-focusing the lens helps identify distracting parts in the scene so you can eliminate them from the shot, or decide how to handle them in post processing. (Dodging and burning also really comes into play on these kinds of shots.)
The observer's eye will travel, of that you can be sure. As a photographer, your job is to direct the travel of the eye, within the frame, in a deliberate way.
To me, these seem sort of random.
Congratulations on the new job!!
Also, everyone I really appreciate your encouragement and congratulations on the new job.
Angela, you cracked me up. I've noticed some of your fine grass images over on the Central States forum.