In terms of color and dynamic range, this is scenario right here I’d want to work on. I would want to kind of patch this so that this seems right where the sun is coming out and then all of the sudden you run out of the color and then you come back to it from the visual stand point. This area right here it doesn’t make sense to me and so I would like to patch that and have more of a flow sort of these orange and yellow with this being the most exciting part, the yellow and orange which is dealing with this from the value and color standpoint.
Over all when I start to think about improvement if I would stand there with Mark. Let’s say this is a workshop. One of the big questions I would ask here is, “Mark, where do you want the viewer to end up?” Because there’s a ton of movement as I already mentioned on this diagonal. I mean you have this really exciting movement from the idea of church and all their architectural to commerce and totally different from a conceptual standpoint and modern and all that, big movement back and forth here. This is the highest building high contrast here. There’s a light here, but then I’ve got this incredibly strong pole to get it back here. And so I’m thorn and this one’s outlining out, but then that ends up sucking me into an area of the image and sort of traps me visually and then I leave.
This is taking me away from a lot of the details. It seems to be very exciting. It’s pulling me in this sort of the backdrop for the image and then potentially trapping me and taking me out. And how could we deal with that? We could try and do it in Photoshop after Photomatix. We could try and desaturate this. I mean one of the things that I would do is in fact I want it to move the viewer in this direction as I’ve really try and bring up the idea of sort of this orange glow out in these buildings, and here reflected all for this building. I definitely would want to take that away from the yellow green and back to the orange, and really sort of pop up the idea here, tone it down here. You could look out more of the vertical and more of the square kind of composition. I will talk more about that in just the second.
The other area of the image from a color standpoint I changed is I would push this more towards the yellow-orange. You can have some of these kinds of fluorescent greens that are out in some places in the image, but for me being right here. This really starts to pull me unto this now as another competing idea, and I don’t want to do that. I’ve really sort of like to just keep moving past this. And if we move that towards orange it will blend them more and harmonize more with the area over here that I want to draw attention too.
This pulls away being green now I felt was orange it can harmonize with this maybe actually even add to it. If I was going to put green into this image I would put it down in here. What am I trying to do? I’m trying to balance all these diagonal movement and create some feeling of diagonal movement now going in this direction. And that brings me to another point which is crazy, dramatic as the sky is super cool. It’s very luminous in some respect. It’s also really competing with this real strong movement in this direction.
A lot of times if I’m designing a shot so let’s say I was shooting this for client in a perfect world what I would be trying to visualize in my mind is actually a big cloud bank that could reflect this in an opposite kind of ways. So in other words I can picture some big hooking diagonal that would point back into this building because of this composition this is where I feel like I’m going to leave the eye. And what’s happening is you’ve got these clouds. It just cut straight across in they are literally cutting off that energy, literally cutting off that tops of buildings and all those movement. And you can play around with motion blurs and liquefying stuff, but it really for me I just almost could think vertical here.
And one of the things that I’ll say this is just kind of up against this from this particular place on his building looking out just this area right here. A perfect world for me this is just kind of dark pedestal or something which is a little bit of detail that the image is based on, but the way this is right now there’s a ton of detail here, and it really draws my eye and it just very different than sort of anything else in the image to get a little sense on the top of the building here, but for me this is just a kind of overwhelming visually.
This is one where I might play around in scaling. Maybe you’re trying to scale this part out of the image. But last thing that I’ll say here just in terms of improvement it just makes it really difficult when let just say that we’re just sort combine and find the Mark’s deck not this is an incredible man.
I love city living and I’d love to have this view. It’s amazing, but from the standpoint of shooting a shot when you start be more and more limited as far as where you’re standing and shooting effects setting. Boy, that doesn’t make it difficult, so lot of things that we’ve really talked about here are come back to what I initially feel about this image which is wow! It’s crazy, dramatic from a color standpoint and very dramatic from the standpoint of moment.
And I want to say a big thank you to Mark for sharing this very beautiful, very dramatic city escape with us on The Mindful Eye’s Daily Critique.
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