MEDIA 203 Advanced Digital Photography
WEEK 6: Pictures within a Picture. Take six photographs that illustrate the concept of a picture within a picture, or that delay and reveal. Adjust three photographs in Photoshop Camera Raw. Do a photo analysis.
P I C T U R E W I T H I N A P I C T U R E
A D J U S T I N G I N C A M E R A R A W
P H O T O A N A L Y S I S
The picture left is a slide, Mario Andretti's Formula One Alfa Romeo and a Porsche 917 Le Mans car, that is a double exposure done in camera with a Nikon F3. The first deliberate image within an image for me.
This week I wanted to find within natural scenes elements that could stand alone as their own picture. The hummies at the feeder is a 'delay and reveal', as it takes a second to recognize there's another bird on the other side looking through the glass. I chose the lamp at the window as I wanted to find a 'pic within a pic' that wasn't outdoors, where the subjects for this assignment are more obvious.
The Camera Raw subjects were chosen for their dramatic lighting and potential for melodramatic adjustment, so I got a wee bit wild with them. The second one is Mt. Rainier with Seattle off to the left, shot from Mt. Walker at dusk. I enjoyed seeing places of immense size like Rainier and Seattle rendered so small in a panoramic view. Camera Raw is a wonderful tool and I look forward to becoming more adept with it.
My intent was, to quote Michael Freeman from our text 'The Photographer's Mind', "To direct the eye towards a conclusion in the image that is important, but not obvious at the start." I did this by having the eye go to a brighter subject, then to a secondary subject that was dimmer but yet concluded the story in the image. Focus is sharp through out, except for the lamp, where I purposely blurred the background. I use a tripod as much as possible, these wee digital cameras a challenge to my less than steady grip.
This week I wanted to find within natural scenes elements that could stand alone as their own picture. The hummies at the feeder is a 'delay and reveal', as it takes a second to recognize there's another bird on the other side looking through the glass. I chose the lamp at the window as I wanted to find a 'pic within a pic' that wasn't outdoors, where the subjects for this assignment are more obvious.
The Camera Raw subjects were chosen for their dramatic lighting and potential for melodramatic adjustment, so I got a wee bit wild with them. The second one is Mt. Rainier with Seattle off to the left, shot from Mt. Walker at dusk. I enjoyed seeing places of immense size like Rainier and Seattle rendered so small in a panoramic view. Camera Raw is a wonderful tool and I look forward to becoming more adept with it.
My intent was, to quote Michael Freeman from our text 'The Photographer's Mind', "To direct the eye towards a conclusion in the image that is important, but not obvious at the start." I did this by having the eye go to a brighter subject, then to a secondary subject that was dimmer but yet concluded the story in the image. Focus is sharp through out, except for the lamp, where I purposely blurred the background. I use a tripod as much as possible, these wee digital cameras a challenge to my less than steady grip.
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