In a message dated 98-02-23 12:42:25 EST, [EMAIL PROTECTED] revelled:
> > I've discovered that the shots that appeal most to me
> > are those have substansial amounts of geometric shapes in the
> > composition of the shots.
You've tumbled to one of the secrets. Those elements, in addition to adding
context, add shape to that image. Add generous amounts of shadows to make the
lights and darks of that scene highlight the elements you wish to highlight,
and you have the makings of a masterful image. Look at the compositions of
Steinheimer and Ted Benson and Hastings and Shaughnessy, with their use of
hyper compositions as railings and railheads, carbody sides and other items
run along one or more sides of the frame. Or the scenes framed by poeple, or
the edges of people, or framed looking through window frames or holes in the
foliage, etc. These break up the normal wedge-like monotiney of railroad
imagery. Remember that an item need not be lit to be a highlight of a frame
-- sometimes shooting the shadow side of train against an otherwise bright
scene can be just as dramatic. And if those shadows are long, they can make
the train more dominent in a distant scene. The possibilities are as
limitless as your imagination.
....Mike
-> SPORRS: 'Serious Photographers Of Railroad Related Subjects'
-> Web Site: http://www.anet-stl.com/acphotog/sporrs/
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