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Alan Brown's picture

Golden Maple

Although similar to some other attempts this uses a modified technique that I feel better maintains the character of the foliage & branches.

As always, feedback is encouraged and welcomed. I treat ALL opinions as a gift and an opportunity to grow. For those uncomfortable expressing their view via comments you can voice your opinion by voting in my portfolio.

Update 26 Jan;
After comments by Ruth I have performed some remedial work to the image and attempted to blend the transition more - see image #2

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Chris Jablonski's picture

Now I feel you're getting somewhere, Alan. (That is, egocentrically speaking, in terms of eliciting a positive gut reaction response from me.) I agree with your opening sentiment.

One aspect ot the multi-exposure approach to this kind of subject that I've found unappealing & unsettling, even jarring, is that the hard, mechanical repetition of elements doesn't sit well for me with the natural world and, say, the seemingly random wandering of tree branches through space. ICM, while softer, somehow similarly imposes some unnatural-feeling element for me. I totally get that this is entirely subjective, and why both approaches appeal to others.

I love a lot of art, but I don't like most of it! I usually like maybe a third of what I see in a galllery. I can't abide Mozart. But it's what appeals that matters, not what doesn't. So if isomething doesn't appeal to me, I'm loath to criticise it or its maker, and don't feel qualified to criticise or dismiss it.

I know you're chasing something here, and since I think we all want our art to move others, this is one person's reaction. Again, the Impressionist softness and vibrant but not garish colour appeal.

Ruth Carll's picture

Hi Alan,

I think i agree with Chris. Well, I definitely do in the love/like art stance. Well put Chris. I also tend not to prefer the ICM technique that produces the look like the camera was shaking resulting in many hard edges. However, you have posted similar images to this one that I really liked. I'd love to see a post with one of each so I could really ponder the techniques separately from the image.

For this image, I am seeing a distinct demarcation between the bright center of the canopy and the darker outer canopy, particularly on the upper left. It is creating almost a dark halo effect. This keeps drawing my eye to the top left of the tree. The colors are beautiful and I like the center canopy focus. If you consider a smoother grade from the bright front to the outer edges, I think this would be more successful. In my egocentric opinion! 🤗

Ruth Carll's picture

This is where I'm seeing the hard transition.

Alan Brown's picture

Thanks for sharing your opinion Ruth and highlighting the transition.

The issue you indicate is result of the overlay process - the foliage outside of the 'core' is that from captures taken from different angles around the tree where the layers don't overlay.
I think this may be highlighted due to my attempt to maintain texture and form of the foliage somewhat.

This is something I am going to have to be aware of and modify my technique to suit - thanks (as always) for having such a critical eye.

I have a number of these types of images on my website as following, if you'd still like to see my transition as a separate discussion I can add.


Alan Brown's picture

Ruth, I have attempted to blend the transition to take away the hard edge. Let me know what you think (honestly) of the updated image.


Ruth Carll's picture

LOVE IT! Smoothing the edge makes all the difference. I really love this new work of yours. I would like to learn more about this style from a historical or just general perspective. Is there a source you recommend? Or would I Google ICM? I'd appreciate a start on a path for some research. I know so little about this that I'm not even sure where to begin!

Alan Brown's picture

Hey Ruth, to avoid taking the discussion off on a tangent I have sent a PM to you.
If others are interested I can start a separate thread to discuss technique etc.

Chris Jablonski's picture

I noticed the dark halo Ruth mentions, Alan, and on reflection it does detract from the image's fundamental quality somehow, even though it's not an artifact, strictly speaking. The effect is lessened in your edit, but still there slightly. I have no ideas at all about how to tackle the issue!

Joe Svelnys's picture

I don't have much more to add, and I know I've said this in a past comment/reply; I love this style.