[Leica] on the reservation...

[philippe.orlent at pandora.be (Philippe Orlent)]

Just throwing in my mail to Steve, about the retouching and wether or  
not cropping of this magnificent photograph:

> Hi Steve,
>
> I'm starting on the bigger file now, but about the little girl and  
> the photo itself, that I really like a lot:
>
> About the girl:
> For me she balances the photograph a more (adding f.i. a  
> compositional diagonal between the gril's and woman's head, and  
> being a counterweight to the light sand dunes in the background),  
> and her presence adds a connotation of generations, giving the  
> image a much broader and richer scope.
> Without her, it's a powerful portrait of a magnificent old lady.  
> But if that was the purpose of the photograph, I would have shot it  
> more eye level and a bit closer.
> With her, it's an environmental* portrait, telling a story: the  
> environment helps to interpret circumstances and facial expressions  
> and emotions.
> So: a layer of a richer psychology.
>
> Also: the girl helps to date the photograph.
> Without her: it could have been made a 100 years ago.
> With her: 50 years ago but probably less (looking at her clothes),  
> also depending of it being 'modern' B&W, or 'retro' B&W.
> So: another layer of social relevance.
> That's two big bonuses in one photograph IMO.
>
> * I always prefer the latter, unless for closer, studio or  
> implicitily made for that purpose (thus with the portraitee  
> knowing) shots, where the surroundings are less prominently  
> necessary (unless staged).
>
> If I remember correctly, I immediately adored the color shot that  
> you initially posted. It has a sense of heath, that's less  
> prominent in the B&W conversions (despite the warm toning effect.)
> If I would have a color version go at it, I'd just get the scanning  
> noise out (not a very good scan IMO: too harsh), shift the colors a  
> bit (just for falsly romantic reasons: my love of 70's color film*)  
> and lighten up the shadow part of the woman's face. And a little  
> local sharpening here and there, ofcourse. And a bit of dodging and  
> burning, maybe. And optimizing the framing by taking small bits out  
> here and there...
> Just the same as I'd do in B&W, but without the B&W conversion  
> (Alienskin software: convert to Acros 100 without noise) and toning  
> (through curve that I use often adding a light bronze to the  
> photograph).
>
> Now you know the tricks I used ;-)
>
> * In color (see this attachment with just the color shift and none  
> of the other tricks) it would be an instant classic, as if straight  
> out of National Geographic, when that still was at it's peak moment  
> of exotic observations.
> Now who wouldn't dream of having just once made a shot like that?
>
> But finally: the shot as it is, in color and unaltered, makes me  
> ask: do people still live like this? And is this acceptable in this  
> day and age?
> Thus bonus number 3: an image that makes a statement.
> On par with Dorothea Lange's Migrant Mother as far as I'm  
> concerned. Which is even better than National Geographic level.
>
> No, throwing such 3 bonuses away with a close crop and a smirky B&W  
> conversion, it wouldn't be my choice.
>
> But in the end, it's entirely up to you, ofcourse :-)
>
> Philippe

Op 18-jul-07, om 01:13 heeft Steve Barbour het volgende geschreven:

> an image taken recently at Canyon de Chelly...
>
> Philippe Orlent helped  me immeasurably  with this photo....  
> especially to see the value of leaving the child
>
> in the photo, with the old woman...and with the final preparation  
> of the image,
>
> merci....
>
>
> <http://gallery.leica-users.org/v/barbour/PAW2007/ 
> womanchild_002.jpg.html>
>
>
> leica M7 Summicron 90mm f2 APO ASPH...
>
>
> your comments are most appreciated,
>
> Steve
>
>
>
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