by Nat Coalson | Jul 27, 2010 | Photography Critiques
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This photo was submitted by Dave Ruybal of Denver, CO. It was made with a Nikon D300.
I love how the color and the effect of the light conveys the feeling of being on the ocean at sunset. I can almost smell the breeze! The photographer did a great job of keeping everything in sharp focus, which can be difficult in low light and with moving subjects such as a boat rocking on the water.
One thing to always watch out for is the horizon line. In a shot like this, where the horizon is very prominent, it’s usually best to make sure the horizon line is perfectly straight. This looks just a wee bit tilted; rotating the photo clockwise a little would straighten it out.
Another thing to consider in shots with a strong horizon is the vertical position of the horizon within the frame. Placing the horizon smack in the middle of the frame can create a very “static” composition. In this case, the photographer did a good job of balancing the frame and adding some dynamism by including more sky than water.
In this photo, there are two primary subjects: the sun and the boat. Neither is notably stronger (or more “dominant”) than the other. With the boat at the far left of the frame, and the sun at the far right, the viewer’s eye travels back and forth between the two in a kind of ping-pong effect. This draws attention to the space in between the two objects. In this way, the elements of the frame compete for attention. The composition would have been a bit stronger with one main subject being dominant and letting the other subject play a supporting role. Zooming in/out or moving back or forward to make the boat larger than the sun — or vice versa — would have accomplished this.
To make the strongest possible composition, it’s usually important to allow one subject to dominate the frame. Also observe how the position of subjects relative to one another will either emphasize or de-emphasize the negative spaces in between.
This image does a great job of communicating a mood and the difficult exposure was handled very well. Thanks for submitting your photo!
by Nat Coalson | Jul 27, 2010 | Photography Critiques
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This photo was submitted by Nate Pinckney of California and was made with a Canon S90 camera.
This composition is very well-balanced. The repeating pattern created by the floating docks in the foreground create a very strong, graphical foundation on the bottom portion of the frame, which naturally leads the viewer’s eye to the background, which reveals subtle, interesting detail with a bit of mystery due to the fog.
The balance in the composition is enhanced by the triangle created by the points of the dock in the lower left corner, the Pier 39 sign, and the building in the background. Triangles with their base at the bottom appear very “solid” and lend a sense of stability to a composition.
The visual weight of the composition is increased by the fact that the bottom of the frame is darker, and the top lighter. This conveys a feeling of surdiness and stability at the bottom and of light, airyness toward the top.
The relatively monochromatic color adds a sense of artistry and also increases the drama and mystery of the subject.
I think this photo is very well seen, and well captured. The only suggestions I have for improvement might be a slight clockwise rotation, and if possible, a bit more space around the bottom left corner. Really nicely done!
by Nat Coalson | Jan 21, 2010 | Photography Critiques
Today’s photo for critique was sent in by Joe Saladino of Sarasota, Florida:
Here are my thoughts:
This image has great impact. On first glance it is very striking. Though tiny frogs are a popular subject, and I’ve seen lots of photos of them, this one is unique and visually interesting to me.
The exposure looks spot on; you did a good job processing this photo for both tone and color. And it’s very sharp, at least at the resolution I received it.
I’m torn about the depth of field you chose. On one hand, I like that the sharpness falling off towards the back of the frog helps really emphasize the face and eyes, which to me is clearly the center of interest.
On the other hand, the bumps (warts?) on the back do represent some potentially interesting detail that helps tell more of the “story”.
So I would have liked to see a version with more depth of field.
Now for the composition. I think the comp would be stronger with more room on the right side of the frame, for a couple of reasons. First, The Eyeball. Clearly, the frog’s right eye, in the center of the frame, is the main focal point of the shot. However, notice how the fact that it is nearly dead-center creates a “bullseye” effect that attracts the viewer’s eye and makes it somewhat difficult to scan the rest of the frame.
Second, notice the (invisible) directional lines created by the way the frog is looking to one side. When you have a subject that appears to be “pointing” one direction, you generally should leave room to balance the composition and allow the viewer’s eye to move around. In this comp, the directional lines may take the viewers eye toward the right side of the frame too quickly, which becomes a distraction. You’ll find that careful inclusion of negative or empty space can really balance a composition and give it a more “solid” feel.
One thing I really like about the comp is how the curve of the leaf mimics the much smaller curves inside the frogs eye. Incorporating graphic elements of similar characteristics like this can really strengthen a composition, as it does here. The downward curve, and the space at the bottom, adds some very nice visual weight that anchors the comp at the bottom.
Toward the top, a little more space between the hind end of the frog and the frame edge would also be nice. See how the large, bright triangular shape of the frog’s back looks like an arrow, pointing up to the frame edge? This is another example of directional cues that the viewer’s eye will follow, and in this case it draws too much attention to the top edge ofe the frame. The combination of the frog’s back and legs create a “pinching” effect that also draw the eye upward.
Overall, I think the shot works. The lighting is really nice and the color is fantastic. Your careful approach to getting the shot and processing it well shows.
Thank you for submitting your photo. Keep up the good work!
by Nat Coalson | Jul 21, 2009 | Photography Critiques
This is a good example of choosing the appropriate orientation (horizontal, “landscape” or vertical, “portrait”) and aspect ratio (the ratio of length of the two dimensions of the photo).
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