Interesting and very minimalistic. I imagine you used a similar technique to your recent Snowshoe Tour shot. Interesting to see it used in a scenic and a rural milieu. Quite effective in both.
Let me say some words to this picture and some of the responses:
I like to have everything under control when photographing - as far as possible. ICM seems to be the opposite - be surprised by the effect. But for me there is always a surprise, even with a static motif when I compare what I have seen and what the camera has "seen". I think it is always about the pictorial representation here and there. Pictorial is not mere mapping. It is an organization of line, area, chiaroscuro, colour tones,... On this topic one could say a lot...
The result can never be predicted with a motive in motion, that's clear. But also in this photo on the motorway I tried a step-by-step approach - try with different exposure times, aperture values, clipping, ... and always draw conclusions from results. This is how a picture series comes about. At home, I examine them on the big screen and decide whether I want to devote myself to one of the pictures in depth. Usually I make a lot of decisions concerning cutting, contrasts, brightness, sharpness, directions, emphasizing or weakening of parts in the picture, ... - always with checking the impacts on the whole.
In this particular image on the motor way the long exposure causes the impression of movement - I wanted to reinforce that by the peppy curve in the course of the road. I deliberately waited for such moments and then pressed the trigger - also paying attention to where the cars are. At home, I decided for b&w after several trials with different colour gradients. I have expanded the image area above. This "emptiness" is crucial to increase the image effect. In German we say: create a "Bildspannung" - I hope, I translate it approximately aptly with "picture tension". Such image tensions arise, for example, through the purposeful use of contrasts. A starting point for a picture idea could be (for instance) the definite predominance of bright against dark (or vice versa). Every time another expression will arise. This requires a feeling for proportions, image effects - as for many other interventions in an image scene.
Sometimes the result is better, sometimes worse. It's good to be self-critical. And it's good to listen to reviews from others. Learning never stops.
I would like to add that ICM should not be a mere effect, which results in a mannerism.
I do not know how serious the question of "giving lessons" is.
I consider this idea very appealing. I think this forum could not just about sharing photos, but also about learning from each other. There are many excellent photographer in this community. And I am always learning new things too.
It would be nice if there are people who want to share their experience in photography and image editing. If you are serious about photography then you soon feel that this is an infinite field. Technical understanding should be combined with artistic comprehension. I'm still a learner myself and I certainly can not and do not know everything. But I am convinced that - not everything - but very much is teachable and learnable.
I am thinking of putting together specific pictorial tasks and examples - which concern the specific use of the pictorial means (meant as a grammar of designing). It is important that the process is opened up and illustrated. There are many examples from photography, but also painting and graphics. It would be an interesting task - however a time consuming one.
I am most interested to read that you are thinking of putting together specific pictorial tasks. An excellent idea - I look forward to hearing more about it.
@jerome well I am pleased to hear this and very interested to read your careful explanations of all the many considerations you put into your compositions and techniques for representing your subject. It is no surprise that your work is so meticulously thought through. You have the commitment of a professional. I should love to learn more from whatever you may be able to offer in the future.
Hi Jerome, fabulous image. I experimented with motion, believe it or not with a Rollei 35 and some Porta. I missed on most of the shots and had the police looking for me thinking I was a pervert photographing kids on a ride (I hid successfully). I ended up with one good shot, this one.... https://www.flickr.com/photos/71409503@N05/35661140585/in/dateposted-public/
@helenhall An interesting project that would be. How many are interested would be a question.
In any case, it would be a nice challenge to describe your own process - to document it as far as possible, to make it comprehensible. I am thinking of the task of placing concrete examples in general structures. Only then learning does actually take place - it is about discovering a general on the basis of the particular (and vice versa). It is important to strive for a conscious seeing and perception. My approach is holistic: thinking and feeling closely coherent.
An additional challenge for me, however, is the English language. To express facts correctly in English - I may fabricate misunderstandings to the point of nonsense.
@pickerandagrinner Thank you, Louis, for your kind visit!
Bizarre the story is you tell! Photographers are frequently regarded as strange and dubious people.
Super shot!
Thank you all for your nice comments!
Let me say some words to this picture and some of the responses:
I like to have everything under control when photographing - as far as possible. ICM seems to be the opposite - be surprised by the effect. But for me there is always a surprise, even with a static motif when I compare what I have seen and what the camera has "seen". I think it is always about the pictorial representation here and there. Pictorial is not mere mapping. It is an organization of line, area, chiaroscuro, colour tones,... On this topic one could say a lot...
The result can never be predicted with a motive in motion, that's clear. But also in this photo on the motorway I tried a step-by-step approach - try with different exposure times, aperture values, clipping, ... and always draw conclusions from results. This is how a picture series comes about. At home, I examine them on the big screen and decide whether I want to devote myself to one of the pictures in depth. Usually I make a lot of decisions concerning cutting, contrasts, brightness, sharpness, directions, emphasizing or weakening of parts in the picture, ... - always with checking the impacts on the whole.
In this particular image on the motor way the long exposure causes the impression of movement - I wanted to reinforce that by the peppy curve in the course of the road. I deliberately waited for such moments and then pressed the trigger - also paying attention to where the cars are. At home, I decided for b&w after several trials with different colour gradients. I have expanded the image area above. This "emptiness" is crucial to increase the image effect. In German we say: create a "Bildspannung" - I hope, I translate it approximately aptly with "picture tension". Such image tensions arise, for example, through the purposeful use of contrasts. A starting point for a picture idea could be (for instance) the definite predominance of bright against dark (or vice versa). Every time another expression will arise. This requires a feeling for proportions, image effects - as for many other interventions in an image scene.
Sometimes the result is better, sometimes worse. It's good to be self-critical. And it's good to listen to reviews from others. Learning never stops.
I would like to add that ICM should not be a mere effect, which results in a mannerism.
I do not know how serious the question of "giving lessons" is.
I consider this idea very appealing. I think this forum could not just about sharing photos, but also about learning from each other. There are many excellent photographer in this community. And I am always learning new things too.
It would be nice if there are people who want to share their experience in photography and image editing. If you are serious about photography then you soon feel that this is an infinite field. Technical understanding should be combined with artistic comprehension. I'm still a learner myself and I certainly can not and do not know everything. But I am convinced that - not everything - but very much is teachable and learnable.
I am thinking of putting together specific pictorial tasks and examples - which concern the specific use of the pictorial means (meant as a grammar of designing). It is important that the process is opened up and illustrated. There are many examples from photography, but also painting and graphics. It would be an interesting task - however a time consuming one.
In any case, it would be a nice challenge to describe your own process - to document it as far as possible, to make it comprehensible. I am thinking of the task of placing concrete examples in general structures. Only then learning does actually take place - it is about discovering a general on the basis of the particular (and vice versa). It is important to strive for a conscious seeing and perception. My approach is holistic: thinking and feeling closely coherent.
An additional challenge for me, however, is the English language. To express facts correctly in English - I may fabricate misunderstandings to the point of nonsense.
Bizarre the story is you tell! Photographers are frequently regarded as strange and dubious people.
Super shot!