Juga
No longer a newbie, moving up!
- Joined
- Jan 18, 2013
- Messages
- 1,291
- Reaction score
- 400
- Location
- Charleston, SC
- Can others edit my Photos
- Photos OK to edit
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View attachment 39079Agree with Ken. The second is a Big Pile. Big Piles of anything are usually less interesting unless they relate to WHY they are there. The first one is more interesting as it shows a simpler image but the rusty details are more visible along with the curves, shadows, etc.
I am just not getting this whole compositional thing. Technically I think I am getting much better but I am still finding a hard time with the artistic side of photography. Regardless thank you all for feedback.
I am just not getting this whole compositional thing. Technically I think I am getting much better but I am still finding a hard time with the artistic side of photography. Regardless thank you all for feedback.
Here's an idea: don't think of the scene as three-dimensional, but as a flat 2D surface (which it will become as a print), and look at the elements as lines (diagonal, horizontal, vertical), triangles, rectangles, curves, perspective, texture contrast, colour contrast. Decide which set of attributes are most important (say, converging lines) and find a vantage point that emphasizes that basic element. Or if it's texture, look for texture contrast that really lets us feel the texture. Look for shadows creating their own elemental shapes. Look for where lines and curves meet. That'll get you started.
Edit: My wife teaches drawing to people who claim they could never draw. She gets them to draw by making them forget what is there (the "knowing" it's a cup with a handle), and then putting on paper only what they actually SEE. The book "Drawing on the right side of the brain" by Betty Edwards, is a well-documented method of using this approach to unleash the inner artist. The problem is, we normally want to draw what we "know" is there, and that gets in the way of "seeing" what is there. Same method applies to photography.