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WayneBenedet — Chords of Affection I
Published: 2007-01-11 01:04:31 +0000 UTC; Views: 2852; Favourites: 111; Downloads: 0
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Description
This is a reprocess and post of an image I did a few years ago. While I have been happy with colour and saturation of the image, the background was not as white as I wanted and the shadow was too deep where the strings enter the neck. Both of these faults have been corrected. I have also intensified the details.This image is part of a series of prints call called Crords of Affection.
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Comments: 108
Beautifully done. Love the close in detail.
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>,< I thought a blurry BW background will suit this one, it feels empty with the white BG
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yup its pretty stark... it is a style called display or catalogue photography.
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thanks,
I love music too.
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this is different than your usual subjects. I like it.
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studio set up is a cold weather, but I want to shoot, activity.
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I loathe studio work. I just cant stand it. for me personally, i like the challenge of working without a net so to speak. than again, living in the southern US it rarely gets so cold that I wont take a camra out.
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there are some interesting challenges in the studio that you can't get in other places. I kind of like the challenge of that from time to time because it pushes my creative edge. But I have also learned that it is not for everyone.
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i really never found any real challenges in studio photography. I know they are out there, but the things i wanted to do, i figured out rather easily with just a little tutoring from my professor. A lot of my aversion to studio work is the fact that I like to move around a lot. I like all the options working outside the studio offers. I get stir crazy confined in a studio, even for short periods.
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I guess it was different for me. I spent a year in the studio learning things from lighting to artistic display, the zone system, perspective control on large format cameras, calculating exposures based on distance of lens from film plane (it is quite an eloquent equation if an equation can be eloquent), calculating EV's in various parts of a scene, to ensure detail is captured where you want/need it... learning to visual and plan results even before the shutter is pressed.....actually too much to remember. I liked the challenge, but then maybe it was the large format work that attracted me. I kind of like not having the camera try to tell me what is best.
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i love doing large format work, even if it does mean draggin obscenely heavy equipment all over creation.
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It has been a while for me, but I agree.
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I have a seitz 16X7 which I only use for contracted work, simply because the thing has the surface area of a skateboard and is uncomfortably heavy.
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I can see that.
I use a very old 4x5 with a linhoff lens. Beautiful camera, but I don't have a digital back, so I use it rarely now.
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actually I use my tintype quite a bit. Living in the American Deep South, tintypes are rather lucrative at Civil War reenactments, and historical society events. I love tintypes. its a lot of work, and you really need to have a mobile developing lab (mine is in a converted single horse trailer.) Also acquiring the cyanide is always a pain in the rear. at least we have aerosol laqueres
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I really really like this.
Violins are so easthetic and roses are so beautiful.
I makes my fingers itch to draw it.
I have always dreamed of drawing a violin and the head is so curved and rich in colour.
Truly pleasing and beautiful.
If I could, I would double fave it, but alas, this doesn't exist here.
Greetings.
I am drawing wayne, a remake of this horrible "girl on marble" I did in 2006, and I destroyed the older deviation here, it was too horrible. But now with the digital painting she is coming along nicely. Not a dragon in sight; alas.
So you see, you are not the only one who reworks on older work and makes it better.
The title of your pic should be poetically : the marriage of smell and sound . Just kidding, although...
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but that is OK. It is good that you are drawing. I am beginning to feel like i have to take pictures VERY soon. I have almost run out of material to work on... or so it feels.
I hope your re-work of the "Girl on Marble" comes out in a way that you like better.
Have a good week.
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I went through your gallery of favs.
Was curious about something you said
But I see no dragons there! Are you sure you love dragons???
Or were you just pulling my leg and gave me an almost unsurmoutable challenge???
If it was all a huge joke, please put me out of my dragon misery...
Read you later.
Christine from Brussels.
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lol.....Ah yes....
the fav gallery is too big and things get lost so easily,
But I promise you Dragons are my favourite. To me they are magic, but I won't 
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OK, dragons it is...
If not this time, then the next.
A promise is a promise...
Now I am working on "The girl who loves satin sheets" - no place for a dragon there...
christine
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lol....
No Christine, there should not be any pressure. If a dragon ever happens, I am sure I will love him. If not, I will still love your work.
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thanks dear friend.
These DA friendships are nice.
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i've imagined this concept a few times, and i'm so glad someone actually did it
and what a beautiful shot~!!
would you mind me painting this digitally as one of my daily doodles?
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please feel free,
if you post the image, I would like a link. Please do not offer it for sale.
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ooh thank you very much!
i'll be sure to send you a note~!!
and i have no intention what so ever of selling it ^^
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Oh, and I would love this as a wallpaper... just extend the white space and settle the shot in the bottom right corner 
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The shot is so sweet... two vibrant yet distinctly different personalities which complement each other so... harmoniously
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Nice light, a little hot on the one key there though. You really have some unique arrangements in your gallery
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thanks for your comment.
You are correct about the presence of a highlight. This is intentional. When one studies photography in a formal way, one learns that an image needs to reconstruct the full range of light and dark. What this means is that every image should reproduce the entire range of tones from white (without detail,) to black with (out detail ). These range requirements are most evident and best learned using B&W images.
One must recognize of course that not every image or scene has the full range of detail. (eg a foggy day) In the old days, this was corrected with large format cameras and the invention of the zone system of exposure and developing. Today, that is done on the computer using curves and levels. The zone system was never use able on roll film cameras, because it required precise exposure measurements and processing to reproduce the full range of tones that the eye can distinguish. In essence that meant one exposure at a time, and specialized processing for each exposure.
Regardless of how you proceed of course, photography is an exercise in compromise. If you move the image in one direction, you WILL loose in the opposite. Had I not allowed the highlight to remain, the image would have been flat. had I reduced it, by moving the tonal scale, I would have lost detail at the other extreme...black. For this image, i could have used curves to reduce the overall contrast (I did not). But that could have reduced the "spark" evident in the original. Like I say....photography is a trade off. And the more one learns about it, the more one appreciates the difficult challenge. It is really for these reasons, that I gave up painting.
So thanks again for your comment, and have a good weekend.
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That is beautiful, really great use of composure
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