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The Traveler
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PostPosted: Sat Oct 06, 2012 9:10 pm    Post subject: The Traveler Reply with quote
Efke 50 film developed in Ornano Gradual ST 20, Contax G2 camera with Planar 2/45 lens, and thanks for watching. Smile



PostPosted: Sun Oct 07, 2012 11:48 am    Post subject: Reply with quote
The oof figure - lady? figurine? - makes the pic for me because it irritates curiosity


PostPosted: Sun Oct 07, 2012 2:51 pm    Post subject: Reply with quote
Nesster wrote:
The oof figure - lady? figurine? - makes the pic for me because it irritates curiosity


It's a statue of a pilgrim or merchant of the past (not sure, want to find out) Very Happy
I thought that everybody would photograph the statue and blur the background, so I did the other way around Laughing
The blurred statue becomes a ghostly presence inside a very precise, very perspective oriented landscape and I like that element a lot,
it open doors for free viewer's interpretation, as you guessed correctly, that was my goal Smile
Thanks for reading so well my image Smile

P.S. I think the woman in black farther on the bridge does help the atmosphere, she's a bit mysterious presence as well.


PostPosted: Sun Oct 07, 2012 3:45 pm    Post subject: Reply with quote
Excellent picture. I might have jumped over the railing and shot it from the other side, to make the oof figure walk on the sidewalk for extra effect.


PostPosted: Sun Oct 07, 2012 4:11 pm    Post subject: Reply with quote
Nisseliten wrote:
Excellent picture.


Thanks Smile

Nisseliten wrote:
I might have jumped over the railing and shot it from the other side, to make the oof figure walk on the sidewalk for extra effect.


Yeah, but that would have meant to lose the flight perspective on the sidewalk. I love that. Smile


PostPosted: Sun Oct 07, 2012 6:31 pm    Post subject: Reply with quote
I like that a lot. The two figures are indeed very mysterious and the perspective in the pavement works very well.


PostPosted: Sun Oct 07, 2012 8:15 pm    Post subject: Reply with quote
I always admire that your photos are so full of depth. Where everything just comes together, Orio.
I am far too brutish and obvious in my pictures, you have much more subtlety in your works. And always a good explanation of why.
That sort of skill only comes with years of practice, kudos on you. Any tips on finding those complex compositions?.

PS: I sort of wish there was a fast forward button, but I'm having such a nice time on the ride I'd hate to miss even a second of it.


PostPosted: Mon Oct 08, 2012 12:04 am    Post subject: Reply with quote
skida wrote:
I like that a lot. The two figures are indeed very mysterious and the perspective in the pavement works very well.


Thank you Skida Smile

Nisseliten wrote:
I always admire that your photos are so full of depth. Where everything just comes together, Orio.
I am far too brutish and obvious in my pictures, you have much more subtlety in your works. And always a good explanation of why.
That sort of skill only comes with years of practice, kudos on you. Any tips on finding those complex compositions?.


Thank you Nisselten, such flattering words Embarassed
I'm really embarassed giving tips, because I don't think I am really entitled Laughing
a lot in my approach is instinctual, and also I believe that good luck plays a major role Smile

I think that I am influenced a lot by the stratifications in my mind left in 50 years by the education, both school and self-taught.
One thing that I can tell you is that I always let emotion come first. Then I also try to ponder rationally things like composition etc, but only it if was first triggered by a feeling.
I think that the best photos, speaking generally, are those that can put together the soul and the mind somehow. When a mind design is applied to a real, true feeling, also a mind design can become emotional.
But if I have to choose between two unbalanced photos, I choose one that has too much feeling over one that is too much rational.

Other small "tips" - perhaps at risk of becoming reductive... but:

- I always allow the light to play a major role in my photos. Not to the point of obliterating the subject matter, but if inside my picture there is room for using the light, I always give it room to play an important role.
An example is this photo, although the main impact comes from the blurred statue, I feel that the shadows play of the fence plays a crucial role. Surely graphically, maybe even psychologically, I don't know. But I knew it had to be in the frame.

- I always try to be open when I'm out photographing. Rarely I go out with a precise plan. I may have a starting plan, but I'm always open to throw it away. Most of the time, my plan is simply to "expect the unexpected" Smile

- in general, I find it a good practice to turn habits upside down. 99 times ouf of 100 results can be pathetic Laughing , but 1 time it works, and in any case, it's good exercise, it's like "push-up for photographers". Laughing
This photo started exactly this way, I wanted to do the opposite of what most people would do (focus the main subject and blur the background). Then, after this almost stupid start, I realized that the scene had the potential to become a good photo, so I went to consider the light, the composition, etc, but it all started from that little playful challenge.

Of course, a lot of luck was needed in order for this photo to work. An interesting background was needed (and it was there); good lighting was needed (and it was there); casual elements were needed, like little traffic on the road (and it was there). This is to say that often the success of a photo (I mean one that is not constructed in a studio) depends on a lot of factors, not all of them under your control, and that the border between a success and a failure is very thin and difficult to handle. And unpredictable.

- one last "tip", when photographing, I try to use the materials the most appropriately that I can. When I do colour photography,
I try (if and when possible) to compose colour-wise, and to be aware that colours have both a single value, and an interactive value.
When I do black and white, I try to keep in mind that black and white are not only the extremes of a histogram, but also are psychological extremes.
In the case of this photo, it has a powerful impact, I think, the fact that both the statue and the woman are black. Black here does not only mean shadow;
here, it mostly means darkness, mistery, unknown, a question; and the fact that these dark elements are immersed in a bright landscape
adds a dramatic contrast, and makes the mistery most intense, I would say almost dream like.
It definitely transforms the reality into something at least double sided, if not downright surreal.
That is the power of black and white, and I try to always be well aware of this potential when I click.

One final suggestion I feel like giving is to see a lot of art and photography, ask yourself why you like it or not - then turn the page (or exit room) and forget it, because it is dangerous to remember direct references to other people's art. It is much better to allow it to inspire you only subconsciously, because that way your subconscious will take from it (from other artists) only what really matters to your identity, and drop the rest. If we try to do the same process consciously, we unavoidably end up imitating. Which is bad, because as Picasso said, bad artists imitate, while great artists steal. Laughing

Nisseliten wrote:
PS: I sort of wish there was a fast forward button, but I'm having such a nice time on the ride I'd hate to miss even a second of it.


You are right, by fast forward you would lose not only the fun, but everything. The individuality that surfaces from your photos is built slowly through the years, layer after layer. It is what makes your photos unique. If you gained all the competence in one second, your photos would be technically perfect, but without content, without humanity. Anonymous.
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