Playing around again with my shots down the basement stairs (those are my legs down there -- spent some time running down, posing quickly, and then back up to try again.) I posted a similar one that was just a repeat of one of the shots. I had wanted to use more of them, but it was late and, after several disappointing arrangements, I copped out and took the easy way out. http://365project.org/mcsiegle/alternates/2014-09-10
@janim I'd like to know what you think of this version. It's a bit more varied -- though not tremendously so. It's also darker (more of the black/dark in between) and I'm not sure I like that.
ah this is more like it, as Jani says the special ingredient in his work was the slight variations. you might want to see what more contrast does, or play with the levels to really bring out the shapes of the shadows
I like the overall edit of the shot, enough details visible in shadows and no super bright highlights. But like @kali66 said, play with levels if you want the image(s) to be more about shapes.
I love the slight variation in this version, it adds so much interest, forcing you to look at the individual images. There is a bit frenetic vibe though, legs everywhere, coming and going... The rhythm between the images is important, and I think having a shot or consecutive shots of no legs at all would calm the image down. Actually, you could see this as 16 frames of a movie and tell a story. I'm thinking something Hitchcock ... :)
@kali66@janim Thanks so much for your feedback. Apologies for the long delay in responding. I started to compose this reply about four days ago but didn't have time to finish it then.
I did at first include a shot with no legs, but substituted another legs shot for some reason -- I think because the perspective was a bit different – probably mainly just a matter of zoom. I played around with cropping it a bit this morning before work. It's interesting, Jani, that you mention Hitchcock because that is the mood I was seeing and part of me wanted to do what you describe. I (so far) only have a couple of other shots besides what you see here – one of which is the “no legs” one and the other is with very different level of zoom (or no zoom, in this case). The problem with this piece, I think, is I have to decide what I really am doing with it. The basement stairs shots happened in the first place because I wanted to take a photo similar to some of Metzker's photos taken mainly on the streets of Chicago and Philadelphia. Wonderful dark shadowed shots with people who are an important element, but sometimes only partially visible or disappearing into the shadow etc. I was frustrated because here in Manhattan all week was very overcast. No bright sun to produce the shadows and contrast I wanted. I waited/procrastinated until it was, in fact, too late for the challenge, but I still wanted to try for something and decided on the shot down the basement stairs.
I also love Metzker's composites, but I'm realizing that they are another animal completely -- more about shape and graphic impact, and less about the content; you have to look carefully to discern the subject he had photographed.
So, do I want Hitchcock and a hint of story? or pure visual impact? or...?
Metzker's best composites (IMO) use variety in the shots used. as well as complexity of composition, though he does have some pieces that are simply repeats of the same exact photo. The "3-D" quality in the first one I did is enhanced by the fact that it is a repeat of the same shot and so the walls are lining up exactly over and over for that wedge look. When I've done patchwork type of collage using cut paper, I often went in search of multiple copies of a magazine picture or brochure, so I could use the same exact bit rotated four (or more) ways for a kaleidoscope effect, and that doesn't work well if they're not cut the same. But I really want to do something more complex. I hope to come back to this, but in the meantime I've been experimenting with other photos taken this week. I've posted one that is a more complicated composition using two layers of a repeat of the same exact shot. http://365project.org/mcsiegle/365/2014-09-18
I'm fairly pleased with it, but have taken other photos I'm eager to try my hand at. If I get something Metzker-like that I want your feedback on, I'll tag you. Thanks again, so much for the time you took to give me your opinions and suggestions on this one!
Metzker's composites in real life are very large pieces I think they don't really come across well on the internet. a quilter would really relate to this idea as you described it above, I look forward to seeing what you come up with after some more thought. my problem is there is always a new challenge and I often don't get back to explore ideas I pick up fully!
I love the slight variation in this version, it adds so much interest, forcing you to look at the individual images. There is a bit frenetic vibe though, legs everywhere, coming and going... The rhythm between the images is important, and I think having a shot or consecutive shots of no legs at all would calm the image down. Actually, you could see this as 16 frames of a movie and tell a story. I'm thinking something Hitchcock ... :)
I did at first include a shot with no legs, but substituted another legs shot for some reason -- I think because the perspective was a bit different – probably mainly just a matter of zoom. I played around with cropping it a bit this morning before work. It's interesting, Jani, that you mention Hitchcock because that is the mood I was seeing and part of me wanted to do what you describe. I (so far) only have a couple of other shots besides what you see here – one of which is the “no legs” one and the other is with very different level of zoom (or no zoom, in this case). The problem with this piece, I think, is I have to decide what I really am doing with it. The basement stairs shots happened in the first place because I wanted to take a photo similar to some of Metzker's photos taken mainly on the streets of Chicago and Philadelphia. Wonderful dark shadowed shots with people who are an important element, but sometimes only partially visible or disappearing into the shadow etc. I was frustrated because here in Manhattan all week was very overcast. No bright sun to produce the shadows and contrast I wanted. I waited/procrastinated until it was, in fact, too late for the challenge, but I still wanted to try for something and decided on the shot down the basement stairs.
I also love Metzker's composites, but I'm realizing that they are another animal completely -- more about shape and graphic impact, and less about the content; you have to look carefully to discern the subject he had photographed.
So, do I want Hitchcock and a hint of story? or pure visual impact? or...?
Metzker's best composites (IMO) use variety in the shots used. as well as complexity of composition, though he does have some pieces that are simply repeats of the same exact photo. The "3-D" quality in the first one I did is enhanced by the fact that it is a repeat of the same shot and so the walls are lining up exactly over and over for that wedge look. When I've done patchwork type of collage using cut paper, I often went in search of multiple copies of a magazine picture or brochure, so I could use the same exact bit rotated four (or more) ways for a kaleidoscope effect, and that doesn't work well if they're not cut the same. But I really want to do something more complex. I hope to come back to this, but in the meantime I've been experimenting with other photos taken this week. I've posted one that is a more complicated composition using two layers of a repeat of the same exact shot. http://365project.org/mcsiegle/365/2014-09-18
I'm fairly pleased with it, but have taken other photos I'm eager to try my hand at. If I get something Metzker-like that I want your feedback on, I'll tag you. Thanks again, so much for the time you took to give me your opinions and suggestions on this one!