AAW: VOTING: April 6-13, 2026: Low Key Photography
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Here is the lantern photo that the text book team decided to use. It was really fun to have an assignment and find different ways to illustrate their theme,
The comment has the book design.
I don't think this is exactly what my instructor wanted when he gave us our assignment for this week. I love it!
Photo taken through a dirty window looking into the bathhouse at Coe Hall. The purpose of the interiors assignment is to learn how to adjust the camera for the various types of light encountered indoors. Used the polarized filter here.
I don't think I'm ever going to make page 1 of Explore...... sigh......
Dark, mysterious....... I'll take many more photos for this assignment!
I love stairways. Especially the winding, marble stairway at the New York Public Llibrary.
Styling assignment: Camera: Canon 1DX Mark II. Lens: Canon 24-70mm, f/4.5, SS: 1/50, ISO 200. Light source: Canon 600EXII-RT Speedlight w/Impact 24" x 24" Quickbox with grid. Note: Child was not sitting on a shelf. He was laying with his back on the floor. Image was shot from above.
This assignment was about the choice and use textures and backgrounds to complement or contrast.
www.youtube.com/watch?v=7AcfKFjgMJ8 - "Wherever You Go" - Brian Simpson
In shooting this plant, my first concern was "trying to tame the chaos." This plant possessed a fierceness to it, with petals and shapes going every which way. I found it seductive but extremely busy. Did I want deep DOF with front to back sharpness, or did I wish to go soft and romantic with shallow DOF focusing on the some petal edges closest to me? (I went deep.)
The vibrancy and color of this plant is always a troublesome one for me (and my cameras). Do I go for auto white balance or custom? (I went both.) I shot against a white background under soft, natural light (basically northern sky) to eliminate shifting color-of-light temp issues.
After shooting was done, I picked the image I liked most and started to process it. I often work fast as I process. Music sometimes sets my mood and pace; other times it reflects it. When working fast I tend to work more intuitively (feeling) and not consciously (thought), although I'd be uncomfortable trying to put a % to that mix.
Periodically I stop to see if the image is looking as I want.
Oddly enough, if an image isn't "making it," I seldom start over from scratch (raw file). I don't know why. I just make corrections as I go, usually by adding layers (sometimes I label these layers, sometimes I don't; I wish I always did. I get lazy). In my younger days I studied painting (oil and acrylics). You don't chuck a canvas when something isn't working, you just paint over it (the Mona Lisa is about 30 layers deep. Yes, 30!) That attitude still lives for me.
Image done. Then to the assignment. Pick a texture - again, a mainly intuitive process. Apply and process it. Adjust color (hue, saturation, contrast), blur, sharpen, depth to suit. Process more. This can often take as much work or a long to do as processing the image. Most times I use only one texture (repeated as desired. On occasion, two. Seldom more).
Now the process feels more purposeful. Analyze the image with a conscious eye, looking for what's working, what's not, what do I want? Make changes; sometimes really itsy-bitsy ones that no one will ever see or note, and I probably won't remember having made.
Finally I get to, "Enough. I'm done. It's done."
The great, New Wave film-maker, Francois Truffaut is reported to have said about film-making, "You you start a film, you want to make a truly Great Movie. Halfway though, you're working to make a Good Movie. By the end you just want to get the damn thing done and not be ashamed of it."
Yep. Sounds about right.
Texture: my own.
Active Assignment Weekly: Reflections
Reflection of a tree and greenery in the water. The actual roots are in the photo.
One of Conrail’s former Erie/EL E8’s escaped the fate of its roster mates, who gave up their prime movers to the DeWitt Geep RS3 re-engine program. Shortly after the consolidation, Conrail’s management elected to institute a business train, and the motive power department chose former Erie/EL 833 to be the streamlined face of the corporate conveyance. Several office cars and the 4022 emerged from the paint shop in Conrail blue, and remained that way until the office car train was expanded and painted dark Pullman green in the early 1980’s. Between OCS assignments, the 4022 frequently spent time on the New York & Long branch commuter line in New Jersey. Here the blue streamliner descends the ramp to the South Amboy engine house.
Assignment 52 -- "Fine Art" -- what might you hang on your wall?
This assignment inspired me to experiment with HDR, to attempt an "old masters'" sort of glow to a still life. Amazingly fun & addictive!
(Shot in natural light, late afternoon sun.)
The assignment was to use Photoshop's Vanishing Point filter to wrap a banner or sign around a building. I decided to use a picture of the girls. I could have put more time into this. But, I had to get it done in a hurry. Using the filter was easy. The only work involved was making sure the light pole was in front of the banner. I should have darkened the right side of the banner a little as the light source is hitting the building on the other side. But, once again, I put this together quickly. I also should have created a crease going along the corner of the building. I'll probably fix these issues and replace this image at some point soon.
London, England
Cinematic version of an older shot....just having a bit of fun with some of my earlier work. I really liked this shot and it keeps returning to me...I think its because it reminds me of every Sci-fi film I have ever seen....and perhaps a mystery or horror film or two.. :)
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and Behance www.behance.net/erikwitsoe
They all fit nicely into this ONA Brixton. Question is... Do I need all of them on assignment?
Since getting rid of all my Canon gear last summer, I am very happy with the image quality of the Fuji X-System and its' form factor. Much more portable!
but danielle has been on of my closest friends since we were in the third grade. this makes me want to take intimate portraits of all of my close friends and family. i want to keep a piece of them with me forever. i want to shoot them the way that i see them.
This was my first assignment with my Olympus gear.
Camera: Olympus OM-D E-M5
Lighting: Camera off-flash using a Canon 580 EXII
Triggers: Pocket wizard X and Plus II
One flash at One O'clock.
(Would like to see a BTS, go to my pool).
I'll beat everyone to this critique: I wish that I got his whole hand.
What I learned from doing these photos is to give myself some extra room when shooting. I was trying to stay zoomed in and keep the action tight. Because they move so quickly up this board and they can swing erratically; it was hard to keep the feet and arms always in the frame while zoomed in so tight. I’m balancing on the top of this board so it is difficult for me to move around. In retrospect I should have not worried about zooming in so tight because you can always crop the unwanted areas out...it is much tougher to recreate a hand.
I'm not sure if I should crop tighter on the right and top?
What about the color of the light in comparison to the other campus board photo.
Which one is better?
Feedback please!
This is a pano from 5 vertical shots. We dont get much cool weather here in SoCal, so I was happy to see these clouds, which were actually a different shot from later in the day.
Strobist: bare 550ex about 6 feet from subject on camera right, and another on camera left.
I took out a tree in the background, but you can still see the reflection...
After I cleaned and polished my hidden armory, my phone rung. I left it until it went to voice mail. It was Carmine Falcone, he told me to meet him outside of Gotham. Pondering for a while I came up with an answer. I headed towrds Falcone. My bike came to a stop as I looked side from side, I was a bit on the edge, Falcone can't always be trusted. As soon as I went in I was searched by armed guards, they took out every gun in my pockets, luckily they didn't see my wrist guns hidden underneath my sleave. "Mister Falcone, Deadshot hasd arrived." said the guard opening the door. I stepped in side the room, my eyes searched every corner. All that was there was just a bunch of old, posh, decorrated pillars. "Ahh, Mister Deadshot. I am so glad you could come" he said whilst reaching out his well groomed hand. I shook it, but said nothing. "Come sit. I have a very important mission for which I hope you'll accept." he opened up a draw from his desk, my heart stopped as I was ready to fire my wrist gun, it was only some doccuments; I could breathe again. "You see this man. His name is Mark Hammond, he was a cop, but a undercover agent for me. He used to miss lead the cops so they wouldn't get a hold of my weapons shipments. Now he has turned on me, five of my last shipments have been abushed by cops. I need him dead. But I need you to not leave any leads pointing to me. Are you in?"
"How much?" I said pretending that I was listening the whole time.
"See Deadshot, your reward isn't money, it's pretection."
"Pretection from what?" my heart rate rose again.
"There is another war coming in Gotham. Cobblepot isn't with you anymore. If you do this, I will give my best weapons and men through out the war."
Although Falcone is a cheap, lying, scammer; he had a good offer. "I'll do it."
"And I hope you do it right. Here," he gave me some of the papers from the documents "here is a list of places your target will be this month. And if you don't succeed, you will be on your own."
Hope you like it :D
I am back from camping and I have some photos which I will upload soon.
Recreation of Oscar Gustav Rejlander's "Study of the Head of John the Baptist in a Charger" 1855
See link: www.flickr.com/photos/130696564@N08/16437263883/in/photos...
ƒ/3.5
16.0 mm
1/100
125