Saturday, October 21, 2006
Poplar
We aren't sure which variety this is. We picked the leaves up on a track near some ornamental planting, so they could be anything. Research suggests that you need to see Poplars in the spring to identify them.
Permalink / posted by and copyright of Colin [auspiciousdragon.net] : 9:24 PM
Comments:
Can't help with the poplar type. It's not a native to this part of Wales although there are a few around. We've planted scented poplar, which is wonderful and as fast-growing as any of the species.
Pictorially, I hover on rejection. In some ways the overt demonstrative nature of the photo works as ůber-realism. But the Auspicious trademark tonal working on the brown/yellow of the Autumnal leaf obviously places it in a different category. I'm always very sensitive to backgrounds and, although the render here is relatively inoffensive, the end result tends towards offering a pair of leaves... . The sum total of tonal range is pleasing, the composition not so much even if the pair is endearingly 'together'. It's difficult.
Render! That's really expensive sandstone with mineral veining (waiting for a redecoration project). OK, so it does look like wetdash in this photo......
For the record, the leaves are bright yellow and green in blotches. The background is a soft yellow beige, with bluish smudges (no veins on this bit). And yes, I have mucked around with the tones.
You are spot on about the tensions in the photo. I'll write more when others have had their say.
The leaf on the right is straining/arching towards its more erect buddy on the left. That's creating the tension for me. The blotches on the stone along the right hand side detract a little from making the leaves the sole focus of attention. But counter this against a reason for the right leaf to be arching gives an element of fear?
I've enjoyed revisiting this image over the last week and each time I find more to enjoy about it.
I was originally bothered by this image because it looked contrived. That is that the two leaves had been arranged for the photograph. Then as I kept coming back I saw that as an attribute of the image which I actually liked.
There is something stark about the geometric arrangement, sort of anti-nature which adds to the stark stone and 'dead' leaves.
Interesting term Rex, anti-nature. I see intervention here, an arrangement of what is usually a natural process (the falling of leaves onto the ground and I get a lot of that with the walnut tree in the garden). I usually arrange leaves into a refuse bin and I can tell you that much prefer this arrangement.
It oozes very fine texture and the shadows peeking from under the leaves gives a depth to the image that I enjoy.
I can’t help trying to rearrange the leaves into love hearts. Snip those ends off and turn it upside down…..now that’s intervention. On second thoughts, don’t.
While I like this image, I find I prefer the single leaf color version that was recently you pic of the day. The tonality on this is a bit too restrained for me; I think I need to see a little more true white and deep black.
Thanks for comments everybody.
When I was taking the shot I was worried that it was too contrived, but I was nonetheless intrigued by the textures and shapes. I tried scattering a number of leaves for a more natural look. It is amazing how difficult it is to generate a natural looking result.
I have a four leaf version that breaks the bounds of the frame that I haven't processed yet.
After I had printed the image I rejected it. It was only on picking it up a day later that I began to enjoy again the things that I had seen in the real original. I still haven't decided about the colour pic that Matt referred to. That one has gone down well elsewhere with some non-photographers.
The question of tonality is an interesting one. I often shy away from setting real black and white points. This isn't a deliberate stylistic statement - just something that I find that I do. When scanning for example, I will typically try the auto settings and then reject the suggested white point correction to leave space above the top of the histogram. I've become more conscious of doing this recently.
When we picked the leaves up (JohnJo, yes bringing fallen leaves into the garden from elsewhere!) they were still waxy and smooth on this top face. To me they did look rather plastic, even if beautiful. It was this artificial look that made me think of the artificial arrangement.
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Pictorially, I hover on rejection. In some ways the overt demonstrative nature of the photo works as ůber-realism. But the Auspicious trademark tonal working on the brown/yellow of the Autumnal leaf obviously places it in a different category. I'm always very sensitive to backgrounds and, although the render here is relatively inoffensive, the end result tends towards offering a pair of leaves... . The sum total of tonal range is pleasing, the composition not so much even if the pair is endearingly 'together'. It's difficult.
For the record, the leaves are bright yellow and green in blotches. The background is a soft yellow beige, with bluish smudges (no veins on this bit). And yes, I have mucked around with the tones.
You are spot on about the tensions in the photo. I'll write more when others have had their say.
I've enjoyed revisiting this image over the last week and each time I find more to enjoy about it.
There is something stark about the geometric arrangement, sort of anti-nature which adds to the stark stone and 'dead' leaves.
It oozes very fine texture and the shadows peeking from under the leaves gives a depth to the image that I enjoy.
I can’t help trying to rearrange the leaves into love hearts. Snip those ends off and turn it upside down…..now that’s intervention. On second thoughts, don’t.
When I was taking the shot I was worried that it was too contrived, but I was nonetheless intrigued by the textures and shapes. I tried scattering a number of leaves for a more natural look. It is amazing how difficult it is to generate a natural looking result.
I have a four leaf version that breaks the bounds of the frame that I haven't processed yet.
After I had printed the image I rejected it. It was only on picking it up a day later that I began to enjoy again the things that I had seen in the real original. I still haven't decided about the colour pic that Matt referred to. That one has gone down well elsewhere with some non-photographers.
The question of tonality is an interesting one. I often shy away from setting real black and white points. This isn't a deliberate stylistic statement - just something that I find that I do. When scanning for example, I will typically try the auto settings and then reject the suggested white point correction to leave space above the top of the histogram. I've become more conscious of doing this recently.
When we picked the leaves up (JohnJo, yes bringing fallen leaves into the garden from elsewhere!) they were still waxy and smooth on this top face. To me they did look rather plastic, even if beautiful. It was this artificial look that made me think of the artificial arrangement.