A slightly different shot than yesterday. With a bit more of the atmosphere of the canal itself.
The Netherlands has its fair share of water (canals, lakes, ponds) and a fair share of bridges and even aquaducts. LAPC #413 is ‘bridges’. The two overlapping bridges (behind the front one is a motorway bridge) are not my favourites as the brief of LAPC asks for. They are the most practical in daily life to cross the canal. In the Archive bridges you find more photos of bridges. Most of them are from ordinary daily life close to home. But two of my favourites are the Millennium Bridge in London and the Pont de Normandie in Normandy.
The Netherlands has its fair share of water (canals, lakes, ponds) and a fair share of bridges and even aquaducts. LAPC #413 is ‘bridges’. The two overlapping bridges (behind the front one is a motorway bridge) are not my favourites as the brief of LAPC asks for. They are the most practical in daily life to cross the canal. In the Archive bridges you find more photos of bridges. Most of them are from ordinary daily life close to home. But two of my favourites are the Millennium Bridge in London and the Pont de Normandie in Normandy.
As a Dutchman this palette of fields looks beautiful. In contrast to the look of The Netherlands from the sky: fields efficiently standardized in shape and size.
People who follow my photoblog (thank you!) know my love for monochrome. And sometimes it is a matter of taste what to choose: the original colour shot, or the monochrome version? That is if the original shot is not done in monochrome, I do that quite a lot on iPhone and Nikon Zf.
The question to you is: which one do you prefer, and why? Any comments are as always welcome.
People who follow my photoblog (thank you!) know my love for monochrome. And sometimes it is a matter of taste what to choose: the original colour shot, or the monochrome version? That is if the original shot is not done in monochrome, I do that quite a lot on iPhone and Nikon Zf.
The question to you is: which one do you prefer, and why? Any comments are as always welcome.
People who follow my photoblog (thank you!) know my love for monochrome. And sometimes it is a matter of taste what to choose: the original colour shot, or the monochrome version? That is if the original shot is not done in monochrome, I do that quite a lot on iPhone and Nikon Zf.
The question to you is: which one do you prefer, and why? Any comments are as always welcome.
I published this one in a black and white version earlier, but this is the original. The coast path between Blakeney and Cley next the sea is used often by joggers.
Lens-Artist’s Photo Challenge #384 is ‘astonishment’. The brief is to show in a photo a feeling of surprise or wonder. These two dogs (Murphy left and Cooper right) keep me wondering for years already. It is about their addiction to water in general. If there is water anywhere (preferably muddy) they dive in. Here they have a bath hunting for the ball in at the quayside of Blakeney.
Lens-Artist’s Photo Challenge #384 is ‘astonishment’. The brief is to show in a photo a feeling of surprise or wonder. The marvel of surprise or wonder is not a big one. For me, it is more in appreciating the day to day events. And sometimes apart of the practical, there is wonder. Like when the Channel Tunnel opened, and a one way trip takes 35 minutes. You can not see much, but it is quite convenient.
Lens-artists Photo Challenge #382 is about rejected photos. What do you do with photos you do not like? You can throw them away, or you can keep them. And if you keep them what can you do with them? First a story of myself, how I work. And in the end an example.
I am a snap shooter for a long time. When looking at this question for myself, I have to distinguish between the analog age and the digital age. But in both ages it is about quality, how you can assess that and what instruments are available after shooting. And above all: how can you be creative, and how much room is there to experiment?
The analog age was expensive: film was expensive, darkroom materials were expensive too. And being a poor student I shot as efficient as possible. You had to be patient while shooting, and selective. You also needed to trust your skills. Experience was essential to figure out what worked and what not. To produce good prints you needed to develop darkroom skills. And some negatives were impossible to print. But you kept them all. I never threw away negatives. That decision was beneficial in the digital age. After scanning my negatives, I properly made them look like what I had in mind when shooting them. What the darkroom did not deliver, software did.
In the digital age the cost of a photo is nearly non existent. The original photo (the former negative) can be copied lots of times. From the start technology offers instruments to oversee the quality of the photos. What you shoot is instantly visible on the camera. You can try different changes in the photo. Adjustments like shutter time, focus, and shutter opening can be tested most of the time. The RAW format offers flexibility for editing the ‘negative’ after the shoot. Software offers lots of creative tools to change the photo, or create new images.
So, do you keep rejected (bad) photos or not? I do reject photos, overseeing the result on my camera. I keep photos that can come to a good result after editing. The rest I remove straight away (e.g. bracketing shots).What I keep is stored on my NAS, where I use Lightroom as my archiving tool. I use editing tools to tweak a photo slightly. My favorite is Snapseed for web and social media publication. And Lightroom and Photoshop for prints.
This is the famous Cley windmill at Cley next the sea. It’s by far the best name for a coastal village. Interestingly, it actually does not have a sea front. The mill was owned by the family of James Blunt.
