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Photography F.A.Q (Last Updated: 2024 Nov 01 10:53 pm)
The more I stare at this the more I like the idea. Just something about the edge of water on the left that seems to need a bit more work. Perhaps leaves pooping through a bit moe.Right side is good.
"The happiness of a man in this life does not consist in the
absence but in the mastery of his passions."
He He...maybe the first one was the good one. What I did,but forgot to save it was clone some of the waves from right side into the left part.Then a bit of smudge brushing just to mess around. Should have kept it. I just don't like interfering.Sometimes it is always best to go for the first choice.
"The happiness of a man in this life does not consist in the
absence but in the mastery of his passions."
p.s. I think where the problem is visually with your picture and why you are having difficulty getting it right is all down to perspective; the visual perspective of the waves is shallow, but they go high in the picture and don't get small enough to be going into the distance. In the meantime, the perspective of the trees is shallow/medium, and you can't see the bottom of the trees at the back when we're used to. I think there's a perspective filter or two out there that might help, but I'll be damned if I can remember it's name. Anyone? (",)
I tend to agree with JordyArt about the tendency to hue & lighting to cause probs &c with surreal photo-art. It's so hard to replicate what nature makes and so often the pieces look like grandpa after surgery. IMO the most effective sur-REALity pieces are often 'enclosed' or 'flat plane' images that don't rely on multiple lighting factors. An enclosed one would be stuff like Tedz' 'pickled barbie' whilst flat plane ot indoor still lifes usually keep a constant shadow and are easier to work with. A surreal look can be given by distorting lighting elements as part of a alienating discordancy, so sometimes these rules all fall down anyway. Dali's work is interesting as he built his surreal pieces up, working on layer upon layer of paint... feeding the corporeality of the piece, making 'it' (something weird) look perfectly natural... the key is our subtle perceptions.
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