Cem_Usakligil
Well-known member
Thanks for looking. C&C is welcome.
Cheers,
The ceiling has a map-like pattern painted on it (ton sur ton)Colored B&W! Lol
You want to please both world my friend!
Nice shot, nice path…
What happened to the white ceiling?
OK my friend, for you here is a larger version.Hi Cem
thanks for the explanation.
The too small/web version doesn't do justice to your image then, needs a fairly large print!
Thanks for sharing!
What did you expect, it was shot using ISO 6400!!! ;-)A bit noisy but nice!
A bit noisy but nice!
What did you expect, it was shot using ISO 6400!!! ;-)
And I did not do any specific noise reduction, yet. Just the sliders in LR3.
Cheers,
I am indeed a DxOer (as well as a LR'er and a C1Pro'er, etc), but I mostly use it when I do final pp for my works. LR, on the other hand, is used on a daily basis due to the fact that it is my DAM program and delivers very good results and is very easy to use. My workflow is automated such that I can create jpg files including frames, watermarking and IPTC info. So in this case, I was just testing the waters with this concept, to see if it works. If it does, I will of course redo the post processing using DxO as well as the Denoise5 from Topaz Labs.I thought you were a DXOer…
Thanks for the kind comments. I fully agree with the principle thinking. The elements of the picture such as the composition and light are the most important. We can live with the noise and other technical shortcomings when a picture is good in those areas. However, the noise can still render it useless in case I want to print this large. And I think that it would benefit from being printed large. So in the end, I will reprocess it at one time or another.Here's an example where focus on noise is not so significant, in fact one might consider it a different type of texture.
Hi Asher,
The picture is great and the noise is unimportant to the composition. Look at the picture. See the massive dimensions of the spaces. The lone person experiencing the art on the right in the darkness. The folk on the left side in the brightness. Two complementary spaces, one public and one private. Totally different forms balancing one another.
Thanks Fahim, you are very kind; as usualCem, I do not have the knowledge to critique. If something appeals to me it does. Why ? I do not care.
This capture catches my attention and holds it. Beautiful is all I can say.
Regards.
Here's an example where focus on noise is not so significant, in fact one might consider it a different type of texture.
The picture is great and the noise is unimportant to the composition. Look at the picture. See the massive dimensions of the spaces. The lone person experiencing the art on the right in the darkness. The folk on the left side in the brightness. Two complementary spaces, one public and one private. Totally different forms balancing one another.
Asher
Coming from the real magic woman which you are, I take this as a huge compliment, thanks!Cem
I like this photo
it has a certain feel to it like a sort of magic trick
the 2 sides is the light trick-
Well done Mr Magic!
You have a good eye (which we already knew) and you have put your finger on the weaker spots indeed. Actually, I have spent quite some time to get the tonalities on the right look like this whereas I have done next to nothing on the left hand side. There you go, it shows!...I'd relook at the tonalities on the left and consider isolating each wall and allocate a degree of brightness that is needed, not what you happen to have captured. It will all seem bright on the left, but I think it dimensionality and form in space must be dynamic and bold to give a feeling of spaciousness that goes on for ever, just us darkness has no limits.The darker area is close to perfect. Still, you might just bring out the edge of her form a tad.