Bench

[Denbigh Gabbitas]

I have played around with this simple photo of a bench. I love the curves and the strong diagonal, but I just cannot decide on the best crop. I will almost certainly turn it B&W with stronger contrast, but the crop... any suggestions welcomed.

<edit: made image smaller>

 

[George Holroyd]

You might want to down-size the picture to make it possible for most users to see the entire image without scrolling.

As is, I'm not sure you need to crop at all.

 

[Sam Hames]

I find your photo interesting, but it's a little odd. It feels more like an abstract geometric puzzle rather than a real place: I want to analyse and resynthesise, but feel like there's something missing? I can't quite put my finger on it, I want to look more but feel a little unfulfilled.

Thanks for posting,
Sam

 

[Asher Kelman]

I have played around with this simple photo of a bench. I love the curves and the strong diagonal, but I just cannot decide on the best crop. I will almost certainly turn it B&W with stronger contrast, but the crop... any suggestions welcomed.

:

Denbigh Gabbitas: Bench​

Guys,

Part of the reason there seems to be something missing was the placement of the picture sing against the left side of the frame of the rectangle of that posting. It crushes the implelemtation of the imagination, which normally can extend to the territory that the image assumes ownership of when placed with white space all around.

Tell me, does the image look different now?

Asher

 

[Mark Hampton]

:

Denbigh Gabbitas: Bench​

Guys,

Part of the reason there seems to be something missing was the placement of the picture sing against the left side of the frame of the rectangle of that posting. It crushes the implelemtation of the imagination, which normally can extend to the territory that the image assumes ownership of when placed with white space all around.

Tell me, does the image look different now?

Asher

for me the black arrow takes you out of the image very fast - this means I have to work hard to keep looking at the image. white around it or not doesn't help as the contents push you out. then again i could just be strange !

 

[Asher Kelman]

Reading the "Bench" and significance of the arrow shadow .

for me the black arrow takes you out of the image very fast - this means I have to work hard to keep looking at the image. white around it or not doesn't help as the contents push you out. then again i could just be strange !

Denbigh,

I hope you don't mind me going further with Mark on his reading of your picture. That's one of his big interests, so I want to pick his brain.



Those who can't stand obsessional analysis of picture composition, skip this or be miffed!

Mark,

You're so correct about the arrow, but in the lower quadrant, the white space does help to provide our brains with territory in which to rebuild the remaining portion of the shadow, while the mass of the bench balances any exit down there. OTOH, your arrow remark still is a dominant force that overwhelms us.

Remember, Mark, in defending appropriation and arguing that the very act of taking the work is also part of the understanding or ethos of the price. So, could it be that Denbigh's composition with "the drive of that arrow out of the frame" could also be an esthetic worthy of our respect? This is just a question I'm posing not an assertion. I'd love to know your opinion.

 

[Mark Hampton]

Denbigh,

I hope you don't mind me going further with Mark on his reading of your picture. That's one of his big interests, so I want to pick his brain.



Those who can't stand obsessional analysis of picture composition, skip this or be miffed!

Mark,

You're so correct about the arrow, but in the lower quadrant, the white space does help to provide our brains with territory in which to rebuild the remaining portion of the shadow, while the mass of the bench balances any exit down there. OTOH, your arrow remark still is a dominant force that overwhelms us.

Remember, Mark, in defending appropriation and arguing that the very act of taking the work is also part of the understanding or ethos of the price. So, could it be that Denbigh's composition with "the drive of that arrow out of the frame" could also be an esthetic worthy of our respect? This is just a question I'm posing not an assertion. I'd love to know your opinion.

Asher,

really its comes down to intent here - Denbigh stated he was wanting to work with curves and the diagonal - the image is squares / curves and a diagonal. Denbigh has described it in formal terms - with the two largest motifs in the same position in the sentence as they appear in the image.


"the drive of that arrow out of the frame" could also be an esthetic worthy of our respect? it is why arrows are used in road signs. so yes completely - i have not said i am unhappy with the image - or asked how i should crop it - just pointed out that the arrow will push us in the direction of the point. and i have to work on reading it - i like that - having to work.


the nature of the image in relation to movement for me is not inviting - not what i would expect a seat to be - i guess that could be why the question about cropping may occur - seats can mean rest?

compare it to maggies image that was posted on rules of the game (or where ever it went) from memory that image was more closed / you rested on the seat and leaves - so to speak.

your most likely correct about the white space btw.

sorry to bore people

cheers

 

[Asher Kelman]

:

Denbigh Gabbitas: Bench​

Denbigh,

I'm not sure, for now that I'd want a crop. This is a picture that's still working on my mind. I now see that the curvaceous strokes of the cobblestones are caressing and cupping the bench, holding it, looking after it perhaps.

Also, the entire shadow, bench arrow axis is quite phallic and add to the the bilateral round forms, well this can have more underpinnings of associations. So there's a lot more to this picture. Cropping it would be premature. I'd print this and put it on a white wall and let it grow on you.

Only then look at crops.

Asher

 

[Denbigh Gabbitas]

I am a little embarassed, first I am not a 'she' but 'he'. I may be delicately sensitive, but I just have that faintest suspicion that someone is taking the P. If so, please explain why.

 

[Mark Hampton]

I am a little embarassed, first I am not a 'she' but 'he'. I may be delicately sensitive, but I just have that faintest suspicion that someone is taking the P. If so, please explain why.

sorry - sorted me post oot !

 

[Asher Kelman]

Glad the matter is cleared up. I'll delete the posts #9 and 10 iif you don't mind and don't actually object. No need to do anything. Glad the text is corrected now. I was convinced that Denbigh was a stalwart male name all along!

 

[Asher Kelman]

Denbigh,

Perhaps you might post any other pictures that might belong to the same series. That way we'll get a better sense of your vision.

I like things to have stress and imperfection. More in common with me!

Asher

 

[Robert Watcher]

Just to stretch the imagination - confusion, but good geometry. Strong diagonals. The reason that I chose this crop point is the match of the point of the curve of the shadow at mid right, with the point of the curve of the chair near top left.

 

[Asher Kelman]

Just to stretch the imagination - confusion, but good geometry. Strong diagonals. The reason that I chose this crop point is the match of the point of the curve of the shadow at mid right, with the point of the curve of the chair near top left.

Rob,

Excellent job! You also allowed the curves in the cobbles tone pattern to grab the bench more convincingly. Yes, this his a strong and superb presentation now. Wow!

What other ideas are there. I for sure never imagined this. I'm still contemplating the picture, uncut, LOL!

Asher

 

[Denbigh Gabbitas]

Well, I do not have a series. I tend to photograph people or shapes.
People make you wonder what they are doing or who they are.
Shapes are abstractions which either please or don't.
The two crops are my earlier attempts.
I like Robert's treatment of the pavé, and the burning around the periphery, drawing in the eye.

I can do virtually nothing which satisfies me with the other bench picture below. Perhaps its lack of balance is its virtue?

 

[Denbigh Gabbitas]

And thanks for all the comments, most useful and thought-provoking.

I have a habit too strong to break, which is to only worry about the C of G of a picture. If the C of G is central horizonally and a bit below centre vertically, I am generally happy. How the principal elements, like the black arrow, contribute is secondary. Please remember that my request was how to crop it... I think Rob's crop keeps it pretty well balanced and was very close to one of my options, but he has clearly more talent with Photoshop, so quickly adding a few grams on the left... not to mention the mid-tone contrast.