this one, or..

[davidhampshire]

so is the whole leaf better or part of a leaf ?   

[blackcloudbrew]

I'm liking the whole leaf image actually. This one (go figure...) is too close for my tastes.

[spyglass]

I have to agree with Earl on this one. The crop seems too tight on the leaf. - (ya I know "those picky buggers are hard to please) 

[blackcloudbrew]

Wheh! Spy agreed with me on something.

Earl

[spyglass]

Earl I agree with you on a lot of things (I generally just keep those secret)   

Spyglass

[blackcloudbrew]

Oh...

Earl

[davidhampshire]

so the crop would have been good on the sepia,  but not here.     too much of a crop i guess

[blackcloudbrew]

Yes, hope we are not confusing you.

[davidhampshire]

helpful,  thank you.     it's good to learn what someone else thinks.   

[blackcloudbrew]

Good. However, it's better if you work with fundamentals, composition rules like the rule of thirds. When you get this kind of critique, it's sort of like do this or that with out a lot of why. We try to explain but, I for one don't always know why for this or that. We try, just like you. Keep it up.

[Pacerr]

so the crop would have been good on the sepia,  but not here.     too much of a crop i guess

Sometimes if you get backed into a corner with a tight crop you can salvage it by cropping it even more into an abstract theme of pure shape and/or color.

I've always had a soft spot for cropping (some may call it lousy initial composition but, hey, having started with the 6x6 film format . . . ) and find it interesting to set up shots with the intention of getting two, three or four unique images from one "negative".

(And that might be a challenging future monthly theme?)

H2

[Ron Kruger]

How you compose a shot depends upon what you are trying to show. If it's just the fall leaf, then the contrast of the dull, brown background works well to isolate the red leaf as is. If it is the spots on and texture of the leaf, then I'd fill frame with it. The way I try to explain it in my classes is: move in a record only what your mind's eye sees. When we look at something, or mind's eye concentrates upon the point of interest and pretty much ignores the rest. A camera doesn't do that, and records the whole scene without prejudice.
An artist decides what to include in a painting--a photographer decides what to exclue from a scene.

[blackcloudbrew]

I've always had a soft spot for cropping (some may call it lousy initial composition but, hey, having started with the 6x6 film format . . . ) and find it interesting to set up shots with the intention of getting two, three or four unique images from one "negative".

(And that might be a challenging future monthly theme?)

H2

Hmmm...interesting idea. I'll put it on our list of things to possibly do. It might make a good special contest. Thanks (+1).

Earl

[spyglass]

I think it is human nature to try and cover all the bases. If I come across a scene that captures my interest and I can't or am reluctant to single out a key element, I will fire off a few initial "shot gun" captures to get the whole or big picture view. This seems satisfy my collector nature and makes me feel like I have covered all the bases and not missed anything. I then can generally settle done to explore the photographic opportunity and focus my interest.

I think we have all had those scenes that excite us but we can't explain exact why. It may be the sum of the parts or features that creates the magic. A rare chance of being in a rewarding space that a single photo or any lens can not do justice to.


Spyglass 

[davidhampshire]

How you compose a shot depends upon what you are trying to show. If it's just the fall leaf, then the contrast of the dull, brown background works well to isolate the red leaf as is. If it is the spots on and texture of the leaf, then I'd fill frame with it. The way I try to explain it in my classes is: move in a record only what your mind's eye sees. When we look at something, or mind's eye concentrates upon the point of interest and pretty much ignores the rest. A camera doesn't do that, and records the whole scene without prejudice.
An artist decides what to include in a painting--a photographer decides what to exclue from a scene.

thanks ron,    this sounds good to me.   makes sense.