Another experimental study. In this case I took multiple exposures around the front of the tree and layered/blended in Photoshop.
The intent was to capture the essence of the silhouette, whilst minimizing the effect of the surrounding and inconsistent elements. enlarging the image provides evidence of the layering.
I'm expecting mixed feedback on this but as always am eager to hear all viewpoints. Feel free to offer your own advice on how this image, or the technique itself might be improved/used in other scenarios.
Hi. to me this looks like charcoal sketch. this is indeed a good frame. any other versions of diff compositions?
Thanks Vijay. I have added a second version with a tighter crop for comparison. I'd be interested in hearing your thoughts and whether you have a preference.
Hi Alan. Wanted to humbly share my thoughts earlier and now. Its purely my opinion.
For me every image has a purpose, a reason. Hence the storyline, treatments and technicalities adhere to it. I continue with assumption of the reason as creation of an art frame or resembalence to a painting.
the warm colour tones looks inappropriate to me. for me, given yellow tone does not appear to be rich enhancement. For me the balance of solid and void (give any other names) is important. subconsciously more of negative space appreciates the solids. 2nd frame has a little more clarity for its closeness to charcoal sketch. the frames miss the sense of depth. the play of light and shadow. perhaps contrast also has some role. is it important to some way denote about the scale of this tree? you judge it. there is nothing which convey that how and why is this tree important.
I see your present work as journey towards achieving something different. looking forward for more from you and fullfiling milestones. cheers.
Thanks for you input Vijay.
As for the purpose, my primary intent was to capture this wonderful tree in its bleak environment.
This was intentionally shot on a gray winter's day, the 'drab' color selected as (I feel) it best fits the tale I want to tell.
Secondary, I wanted a good sample to see how the technique would work with distinct, but not uniform subjects. I personally think that the 'softening' that the overlay process introduces adds to the mood of the story, but I can certainly understand that others may feel otherwise.
As you say, it's all down to opinion and personal taste.
Well you now have flowers of all opinion in your bouquet. Hoping that to be good for the art of photography. cheers.
Hi Alan, knowing how much I love your stuff I hope will soften this. I'm not crazy about this one. Sometimes things in the generally white family look drab here because of the bright white page but this looks too dingy. (I'm sorry that is the only word that seems to fit). Maybe if you were wanting an "antique" effect, that is something that this does evoke. Unlike some of your awesome ICM shots, this doesn't have enough of that layered effect and therefore looks more out of focus. I'm so sorry Alan. I have one of your trees hanging in my house so you know I'm a fan. This one isn't speaking to me.
That all said, if we don't experiment, we don't discover so I'd still be interested is seeing where you are going with the style.
That's fine Ruth and I appreciate your honesty. I was aware that the effect works somewhat differently when applied to anything with distinct lines (ie like branches).
I actually had a similar reaction, as the layering of images introduces a sense of 'softness' where areas don't overlay each other. However, I do like this when enlarged (hard to see on the post) as the effect adds interest.
I also prefer the coloring to straight B&W as it adds to the softness/effect.
I really like these, Alan! Yes, me. Your alchemy has finally turned lead into gold! I like both crops.
For some reason, the 19th-century-photo look here works much better than some of your earlier colour ICM and multi-exposure images, for me. Perhaps your technique here makes the abstraction more subtle as well.
No longer am I left feeling as if I'm looking at an unhappy compromise between painting and photography (and I know that was never your intent anyway, but ICM and similar-looking multi-exposure images often leave me with that feeling, whoever the author).
Like you, I've avoided reading others' comments before noting my reaction. "Mixed feedback" all right! Vijay's allusion to charcoal sketches strikes an immediate chord, but I like your choice of a nice, creamy "sketching paper". Vijay and Ruth have clearly gone mad.
To me, it's as if you've found your stride, or refined your tachnique. I've no idea how to improve here, but my "advice" is to keep experimenting!
Ah, subjectivity...
Thanks Chris, I would have banked on you not liking this one, so I'll take the win.
Thanks for reviewing prior to reading other comments. I feel it important if we are to be true our own individual viewpoint, and basically figure out our own tastes.
I find it intriguing that there are so completely different views on this type of work, it makes for great discussion and just goes to prove that you really have to create for yourself,
I'll leave you with something from my blog, happily admitting that I stole from Cole Thompson;
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A young artist is exhibiting his work for the first time, with a well-known critic in attendance.
The critic says to the young man: “would you like to hear my opinion of your work?”
“Yes” says the young man.
“It’s worthless” the critic says.
“I know” the artist replies, “but let’s hear it anyway.”