Today’s post follows on from yesterday’s ‘Look! – for critique’. Thanks so much to all of you who responded to my request for comments and critique on that image. It is further evidence of the pleasure of being part of this on-line community that is supportive, committed and generous. If you haven’t seen yesterday’s post or seen all the comments it would be helpful to take a glance at that before reading further.
In summary, although there were quite a variety of opinions, I think it would be fair to summarize the overall feel of yesterday’s comments as liking the bottom half, but finding too many faults with the top half of the image – and most of those were about the rather intrusive and messy flare.
The 24hour period immediately following a shoot is not always the best time to evaluate one’s images. This is a well-known fact. Emotions get in the way – we remember what we saw with our eyes, and when the camera doesn’t quite match what we ‘recall’, we can struggle over much to make the image conform to our memory. Well, I tried and failed. The best advice often is to allow a period of time to elapse and then, and only then, evaluate our images. Another 24hrs is not enough, but with your help, I think I now see the potential image within the picture. And if I’m honest I think that what really attracted me in the first place were the shadows cast. Here it is.
I’ve boldly cropped off the top half. That removes the context completely – the London bus, the congestion, the small references to Christmas. It becomes an image that stands on its own, divorced from its surroundings. It’s all about shadows and that one word, that command: ‘LOOK’.
I’ve converted to B&W, cleaned up the white highlights within the shadows, raised the contrast, and then posterized the image. Personally I think it’s a big improvement. It’s now over to you for further comments.
But I can’t miss the opportunity to show you another image that contains the command ‘Look’. An image that poses questions to which there are a variety of answers in the eyes of the viewer.