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Author Topic: T9 and Driver  (Read 1744 times)
John R Smith
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Still crazy, after all these years


« on: December 28, 2011, 04:21:06 AM »
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I haven't posted anything here for quite some time, it seems.

This was taken back in the spring at the Bodmin Steam Railway. As usual, your comments are invited . . .

John
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Eric Myrvaagnes
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« Reply #1 on: December 28, 2011, 08:02:21 AM »
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Nice capture, John.

It looks to me as if the driver and the machine are both of about the same vintage, which is a nice touch.

Eric
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« Reply #2 on: December 28, 2011, 08:27:57 AM »
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I like this one a lot. The composition and the very graphic tonal values all work for me. It has an almost 1930's feel to it. Good job!
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« Reply #3 on: December 28, 2011, 08:57:26 AM »
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i like it. Since the driver seems to be the focus, what about opening up the shadows on his face a little ?

Frank
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John R Smith
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« Reply #4 on: December 28, 2011, 09:25:12 AM »
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i like it. Since the driver seems to be the focus, what about opening up the shadows on his face a little ?

Frank

Frank - in the print, the face is lifted enough to be in balance (I did dodge it a little). Somehow, the straight conversion from LR to a jpeg for the screen has left that particular area looking about 1/3 stop too low.

John
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RSL
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« Reply #5 on: December 28, 2011, 10:56:21 AM »
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It's a very fine shot, John. One of the best I've seen you post here. I do wish you'd left the guy a bit more space for that first step out. As it is, it could be a long one.
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Rob C
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« Reply #6 on: December 28, 2011, 01:11:35 PM »
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It's a very fine shot, John. One of the best I've seen you post here. I do wish you'd left the guy a bit more space for that first step out. As it is, it could be a long one.




It's a tension thing, a Hitchcock device.

Rob C
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wolfnowl
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« Reply #7 on: December 28, 2011, 04:36:31 PM »
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All been said.  Well done, John!

Mike.
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Slobodan Blagojevic
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« Reply #8 on: December 28, 2011, 10:49:14 PM »
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I would prefer to see a square version, to avoid the huge, bold, bright numbers that only distract from the rest. I do not think they add anything, information-wise, to understanding the picture.
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Rob C
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« Reply #9 on: December 29, 2011, 03:00:50 AM »
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All smart remarks aside, I wonder why, out of all of John's pictures shown here, this one gets so much praise? It leaves me relatively cold: I see a dull picture of an even duller-looking man doing nothing.


John has shown us some crackingly good images of places, over time; this isn't (for me) anywhere in the same league at all.

Rob C
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« Reply #10 on: December 30, 2011, 08:53:08 AM »
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I wonder why, out of all of John's pictures shown here, this one gets so much praise?

Ah, but see, Rob, it's not landscape...
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John R Smith
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Still crazy, after all these years


« Reply #11 on: December 30, 2011, 09:37:56 AM »
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Thanks for all your comments as usual. You would see this picture in a rather different light if you were a member of its intended audience, the steam railway "anoraks" we call them over here in the UK. For them, the large number on the cabside will have an almost mystical significance, so that's why it gets prime billing in the frame.

Not that I'm expecting you all to care less about that, and quite rightly. The thing which surprised me was that nobody took me to task for one obvious transgression - the driver looking out of the frame right at the edge of the picture, which I was always taught was a cardinal sin.

John
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Rob C
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« Reply #12 on: December 30, 2011, 10:04:11 AM »
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Thanks for all your comments as usual. You would see this picture in a rather different light if you were a member of its intended audience, the steam railway "anoraks" we call them over here in the UK. For them, the large number on the cabside will have an almost mystical significance, so that's why it gets prime billing in the frame.

Not that I'm expecting you all to care less about that, and quite rightly. The thing which surprised me was that nobody took me to task for one obvious transgression - the driver looking out of the frame right at the edge of the picture, which I was always taught was a cardinal sin.John



No, John, just more nonsense from the photo intelligencia. If you look at the 1970 Pirelli, you'll find that Francis Giacobetti has put Alexandra Bastedo right on the extreme left of the horizontal 135 frame, sitting down, sideways to camera and facing out of the frame, filling the height, holding her knees, the shot cropped close up to the body so as to lose both the knees and much of the arms; she's also looking downwards and the top of her head's been chopped, too. Two-thirds of the frame, the area to her right, is empty beach and ocean. The shot is stunning, which is why I remembered it at once on reading your post.

I used to do a lot of fashion photography for a large store in Glasgow. One day, I was delivering prints to the art department when one of the directors happened to be in the room. He looked at one of the shots and told me: 'that's not a good fashion picture - the model isn't looking at the camera'. The head of the department looked at me, almost pleading with his eyes that I say nothing... I said nothing. Not much later, the business died. Stamper may know them - they were based in Candleriggs...

Rob C  
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John R Smith
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Still crazy, after all these years


« Reply #13 on: December 30, 2011, 11:15:38 AM »
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P.S.

The bit that I really like about it is the hand, resting on the cabside. I think the way the light falls on that hand probably kept me going with the shot.

John
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Slobodan Blagojevic
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« Reply #14 on: December 30, 2011, 11:20:54 AM »
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... The thing which surprised me was that nobody took me to task for one obvious transgression - the driver looking out of the frame right at the edge of the picture...

Ah, but he isn't! He is looking, from the corner of his eye, to his right, almost like noticing your presence, without acknowledging it.
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Slobodan

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Slobodan Blagojevic
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« Reply #15 on: December 30, 2011, 11:23:32 AM »
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 Rob, were it a Pirelli model on that train, trust me, I would not care a bit which direction she would be looking Wink
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Slobodan

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