/p/ - Photography

>>1039

Gods speed

>>1040

You spelled photogriphy wrong.

>mfw

This bin is on fire

>>1179

It's perfectly exposed for the style, its colors are complementary to the beauty of the shot, the smoke feels like a watercolor painting.

I want more from this shot. It feels lacking to me. I want more context. I want to see the flames rise out, or the smoke to billow in a way that's more obvious than as in the image of a ghostly watercolor. I would like to see more of the wall and the street. I can feel some kind of action somewhere in the world of the image.

-

Let me introduce you to my world. A world of inaction; of forests, of stillness, of worry. This image of mine is taken on a desolate southern back country road very recently. The sandy gravel roadway is in visual conflict with the surrounding deciduous forest, stripped of leaves and laid bare. Sharp points are all you see around when you look up into the canopy of spindly, bony dead trees. The inhabitants are drunkards and failures who litter all sorts of magnificent or irrelevant things, like this straw, starkly contrasted against the dead white gravel, the sun's rays illuminating it almost as a candle illuminates a Kongming lantern at night. The image would be pointless without the red glow of the straw.

This is one of two images I acquired of the straw. I had to evacuate the road before I got run over by an approaching car, and when I looked for the straw again it was gone.

The roads are in decay. Most aren't deemed important enough by the bankrupt authorities to even bother with putting the signs back up when they get knocked over by drunk teens.

Some, like this semi-private road, are miniature recreations of much grander places than this. The bright sun on this day adds warmth to a world that could look like a dead wasteland on an overcast afternoon. My world is filled with contrasts. The striking eternal balance of battle between 1 and 2, between light and dark, between action and inaction. Life moves so slowly here that no one knows if things are getting worse or better.

But even in this hopeless world of mine there are still reasons to explore. It is not quite like a beauty anywhere else; it is ugly. It is cruel. But there's a beauty here to be found. Its hopelessness and cruelty are ironically inspiring. Even between people - between neighbors, contrasts are high. Million dollar mansions sat next to run down trailers. Exquisite black pavement next to unkempt gravel roads. Beautiful Victorian college towns a 5 minute ride from ghost towns and the ghettos.

When I was growing up, all I wanted to do was get away from it. I still do. But wherever I go I will always have this place in the back of my mind, perhaps for the rest of my life. Its stark contrasts with its cruel beauty, the lushly green but unnavigable forests, the ailing but happy populace, and its caring but corrupt governance will always serve as an inspiration and a good reminder that subjects can be found even in unlikely locations.

I don't think much of these images, but at least they tell a story and have an arc: the first image is a close up of the ground, the second is a wider shot of the same road in another area, and the final image is a wider shot of the road, with wandering horizon that calls to question "where does the road go?"

These early wintry months are always the worst for me. My attraction lies in beauty, and I find colors and shapes and how they contrast beautiful. Well, around here this time of the year everything is grey and gloomy. It's hard to want to go out in these conditions, but luckily this day was unusually bright and sunny, with a pretty blue sky. Hopefully the coming celebrations and holidays hold more glory than boring roads. I like making images that make me smile and wonder, but all I get any kind of inspiration for in these times are stories about how depressing the area looks in winter, which isn't really my thing.

What makes the 'A?'

I was sitting when I noticed the strong light coming in through the blinds. It was hitting the wall and my hands in such a way as to seem like a Vermeer painting. I decided to go out and find subjects where light and shadow is on display.

This image is of a beautiful split-trunk tree attempting to communicate to me the letter 'A.'

When I first saw this image I thought of the famous frowning mask of the duo symbols of stage drama. I thought, for a split moment, that it looked as if the two strong pines are mocking the center tree in its temporary death by standing tall all year round.

Another example of the contrasts to be found anywhere here.

Here's a typical example of what I find during these trying early winter months.

A typical contrast of colors. The orange bottom of the transformer contrasts the white body, which is silhouetted against the dark green pines, which are in turn in contrast to the wooden pole and the blue sky. The black lines coming in from the top add some variety to the empty top right of the image. Overall, fine composition but boring and predictable.

I'll end it here.

The rippling effect of the sand on the bottom right can almost look like water, and I was reminded of the cliffs of Dover from the miniature cliff in the center, which is the subject. Your eyes start in the middle, and head northeast in the image, before they are allowed to wander the rippling sand and then finally the leaves in the north.

I have to get inventive and imaginative or else I go home empty handed.

That's it. I can't wait to see what everyone else captures for the coming celebrations.

>>1235

It was my first attempt at supplementing bad imagery with a backstory. I was trying to do the thing that these shitty modern artists do with their splotches of paint on paper; write something that makes the mundane image worth looking at again. I always thought of that as incredibly dishonest, and I thought of the people who bought into it as incredibly hilarious. No story can be interesting enough, yet still true, to make paint splatters beautiful. At first it was ironic, but then I saw that I had an arch, so I kept with it. I wonder what would happen if I put a bunch of good images together with a story?

Originally I just wanted to post the straw because I was dissatisfied with everything else I had captured. To be honest, I don't remember why I kept on posting images from a bad day. I had posted two more images that were better from a recent but previous outing but it had some information in one of them about the properties being photographed that I wasn't comfortable with being out there. I've fixed it but it's been too long for it to be a recent picture.

Pics related are from yesterday. Once again, all other images weren't interesting enough to me. The only ones I have are the abstract images, like the straw.

Anyways, I wonder, anon; how do the early winter months treat you this time of year? I happen to have a very beautiful early summer and spring with the greenest flora this side of the hemisphere, but in turn for that I have grey and ugly winters with rare snow.

I fucked up a long exposure.

Steal this for your album art.

>>1249

>Software: paint.net 4.0.6

You done goofed. Please do your self a favour and either sail the seven seas or

http://rawtherapee.com/downloads

http://50.87.144.65/~rt/w/index.php?title=Film_Simulation

>>1252

>if your intent while taking these were a acid trip good work. go produce a body of work.

It's more of a nostalgia thing I'm going for, like warped memories of a past that never really existed.

I'll be out taking pictures again come springtime when it's warm out and the greenery is back. I'm not quite satisfied with my work right now but maybe I can git gud if I keep at it. This was only my first year shooting film, after all.

>>1263

Or maybe reject the mold given to you by some anon from 8chan and shoot whatever the hell you want and however the hell you want to do it.

>>1264

>Don't think just shoot™

asks why my pictures are shit

Anon hands down advice

Othernon tells shit tog to

>Don't think just shoot™

>>1265

This shot is under exposed and has a really distracting background. IMO use a red filter so the sky isnt so blown out.

>>1263

I'm not sure about that. It's more just a certain feeling I'm after, not like a narrative or anything. Like watching a fuzzy old home movie from your childhood or listening to a warbly old cassette tape. The lo-fi nature of these things create a sense of distance between the scene and the viewer and colors the image in a way that gets your imagination going, or at least it does for me. Listening to stuff like Boards of Canada really got me into this style, though I think I was going for this look digitally before I even knew who they were.

I'm not much for shots of people, either. I'm more into nature, grimy industrial or infrastructural imagery, and small town scenes. I usually try to combine several in one shot, especially when they contrast (e.g., lush foliage and grungy factory smokestacks).

My main issues right now are shooting consistently good images and getting colors I like. I've been wasting a lot of shots, but I think that's par for the course when it comes to toy camera shenanigans. I'll have to experiment with the film I'm using and maybe acquire a tripod. As it stands now, I've only received about two or three satisfactory shots on each roll, not counting the rolls I completely screwed up (like accidentally turning on the bulb setting for a long exposure; imagine entire rolls looking blurrier than the second picture here).

I'll just have to keep working at it.

i don't have much to take pictures of

i'm really proud of this one. i'm a shit photographer so this is probably the best photo i've ever taken

>>1586

This chink twink isn't underage is he?

Amidoinitrite

>>1729

I would encourage you to experiment more with your colors.

>>1730

Thanks, the thread said recent so i just threw a couple of last ones. My other stuff is really saturated and got a lot of heat so i wanted to try to be more "monochromatic"

Also hastily processed so i guess i could've done better, although the programs are just finishing tools.

>>1731

In situations like these where you've got one single hue that dominates the entire frame you've got a typical example of the type of shot that benefits from being presented in black & white. If texture is what makes your picture interesting and nothing much else, at least give it a quick once-over with a monochromatic gradient overlay to gauge how it feels.

Or you could again fuck with the colors, introduce some hues that might not have existed in the first place but that don't stand out as being unnatural.