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Author Topic: Darkened Cities  (Read 23578 times)
Justan
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« Reply #20 on: April 09, 2013, 11:10:51 AM »
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This is timely and excellent employment of digital photography to push the boundary!

I’ve been working on something along the same lines. A few months ago I did a series of night time star studies from my front yard. My place is about 25 miles into the woods at the base of a mountain. Because of the hill and tall trees, to find stars you have to look close to straight up. I found an exposure and iso that reveals an enormous number of stars without an exposure so long to cause long star trails. A bit of tweaking with PS and the results are awesome, to say the least. I had no idea a camera could capture so many stars without using a tripod designed to track stars, such as this one: http://www.bhphotovideo.com/bnh/controller/home?O=&sku=588039&is=REG&Q=&A=details

Anywho, in some proof of concept tests I overlaid these star fields behind twilight landscapes. I like the results. The problem is that the image has to be pretty dark to make the stars pop. The artists featured in the article, Caleb Cain Marcus, achieved this goal by making the cities look like apparitions. In my case I want the city lights but not too many of them, so I’ll capture starting at closer to sunset.

Of course the major problem with this kind of work is that it is difficult to reproduce on paper what looks so great on a LCD. I dunno but maybe I’ll print them on a film and backlight it.

Thanks for the post!
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Isaac
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« Reply #21 on: April 10, 2013, 11:22:56 AM »
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Are you thinking of making the same effort to match-up star-photo-location to city-location -- or are you just going to put a nice star-photo onto which-city takes your fancy?
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Justan
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« Reply #22 on: April 10, 2013, 12:27:44 PM »
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^Some of both and not just with city scenes. My list includes locations from several nearby cities, the coast, locations in Eastern Washington state, plus the peaks near my home including Mt. Rainier - which is where I’m going to do most of the star captures.

These planned works are part of a series of surrealism I started about a year ago by putting an oversized moon above some of my city-panos. Those works have been among my best sellers.

Rene Magritte's did something like Marcus' work, but long before. In Magritte's case, he juxtaposed a night time image of a building with a daytime sky http://www.christies.com/lotfinder/paintings/rene-magritte-lempire-des-lumieres-5138353-details.aspx. Of course Marcus flipped the juxtaposition for convenience, and then hid the daytime part. They both borrowed from an idea that was best done by Van Gogh, who didnt care about realism.

As an aside, this thread is interesting to me because some of the predictably most petulant contributors have stated no issue with this obvious use of compositing. This goes to show that innovation can appease most enough so they fall into T.S Elliot’s observed state of willful suspension of disbelief. Not only that, but the thread also clearly shows that people project their own values into scenes when so moved.
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Slobodan Blagojevic
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« Reply #23 on: April 10, 2013, 01:40:43 PM »
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... this thread is interesting to me because some of the predictably most petulant contributors have stated no issue with this obvious use of compositing...

I guess you had me in mind.

There is compositing and then there is compositing. There is a clever one and a cheap one. There is compositing with a profound concept behind (like in the OP case) and there is compositing for compositing sake. There is compositing with a philosophical, poetic concept behind (e.g., Jerry Uelsmann) and compositing aimed at unwashed masses' taste.

In the OP case, compositing serves to recreate reality that is both theoretically and practically possible (like NY during blackouts 1977 and 2003). He composites the exact sky New Yorkers could have seen, providing the night was cloudless.

Slapping any sky or any moon, in any position over any city is... let's just say not my cup of tea, regardless of commercial success.

Quote
the thread also clearly shows that people project their own values into scenes...

Is that really surprising? Isn't that what we all, and always do?
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Slobodan

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Isaac
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« Reply #24 on: April 10, 2013, 03:11:56 PM »
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I guess you had me in mind.

It's all about you, Slobodan! (Sorry, it was just too good a set-up to pass by.)


In the OP case, compositing serves to recreate reality that is both theoretically and practically possible (like NY during blackouts 1977 and 2003). He composites the exact sky New Yorkers could have seen, providing the night was cloudless.

Like you, for me that was the aspect of this project that made it more than -- "[1857-59] [Gustave] Le Gray innovated by successively printing parts of two negatives onto the same proof: a landscape and the sky of his choice, photographed elsewhere. ... The critics sang his praises..."
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Slobodan Blagojevic
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« Reply #25 on: April 10, 2013, 04:15:35 PM »
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It's all about you, Slobodan!...

Hey, if you want to stake a claim on that title, I'd be happy to withdraw Grin

Then again, Justan has a history of calling me "stupid, ignorant, duplicitous, benighted," to mention a few, so being "predictably petulant" sounds almost as a compliment Wink
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Slobodan

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EduPerez
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« Reply #26 on: April 11, 2013, 03:05:56 AM »
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Another approach to the compositing technique:

http://www.stephenwilkes.com/fine-art-gallery.php?g=7&t=fineart
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Slobodan Blagojevic
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« Reply #27 on: April 11, 2013, 08:11:31 AM »
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Another approach to the compositing ...

Yep... and another cool idea.
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Slobodan

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Isaac
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« Reply #28 on: April 12, 2013, 09:37:54 AM »
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These planned works are part of a series of surrealism I started about a year ago by putting an oversized moon above some of my city-panos. Those works have been among my best sellers.

I don't understand what that has to do with surrealism (not that it matters).

I am curious about how many people commented on the moon being bigger, and how many didn't notice.

I imagine the combination of sparkling city lights and sparkling stars will make attractive pictures -- good luck with them.
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SangRaal
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« Reply #29 on: April 29, 2013, 04:09:25 PM »
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The images posted by the OP were made by Thierry Cohen and were a "trailer" for an exhibition at the Danziger Gallery in lower Manhattan NYNY (showing March 28 through May 4 2013); in person the original prints are very large and have this very 3D or dimensional character not apparent from the online view(the Gallery web page has better views). I was surprised by the depth of them. I had originally gone to the Danziger Gallery to view an exhibit photographs made by Lloyd Ziff(same dates 3/28 till 5/4) in the late 1960's into the early 1970's of NY Art, Music, and counterculture figures (the highlights were never before shown candids and in situ portraits of Patti Smith and Robert Mapplethorpe before Robert Mapplethorpe ever held a camera). For any of you who visit NY NY I recomend the Danziger Gallery it always has interesting contemporary photography exhibitions. The people who own and operate Danziger have spent large sums working with David Adamson and Epson advancing photo preservation by using scanners and pigment printers to make large printable images of classic photographs whose negatives have been lost degraded or destroyed.
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nemo295
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« Reply #30 on: May 17, 2013, 03:03:39 PM »
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Another approach to the compositing technique:

http://www.stephenwilkes.com/fine-art-gallery.php?g=7&t=fineart

Interesting work. Thanks for sharing. Never heard of him before.
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Sam789
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« Reply #31 on: July 23, 2013, 02:06:04 AM »
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Its really very beautiful landscape photography.i love it very much. but i think its not an human art its a natural art.
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