Thanks a bunch for that info, Visar! Great! Thanks a lot! Not many times I see such a dedication to photography work, which *of course* includes the methods and their details, or else we don't know what we're doing and that's for science, not for photography! ;-)
Most people most of the time tell me that they "played around" and that they "don't watch out what they do", and expect this to be raised to what they call "arts", you know. ;-) But good old Visar knows that it takes a bit more than "incidence".
And that's also why the necessary "percents" while working, struggling around, being not really "here" when it comes to such a work. Anything else is kind of "half" and "half" is not enough.
So, let's get some more of that necessary boost, aaaaand:
Hey Nick, thank you for the interest in the technique used here.
the following are the steps i took to generate this result, 1. I used the original photo, and first fixed the exposure and tones- here i was particularily focused on the darker areas to have the maximum of details- 2. On the original image, i added horizontal motion blurr- and, here, there were only the colours preserved, not much of anything else- ;) 3. Took again the original, and added a "B&W old photo filter"- (these filters i have bought and they are quite helpful to my late work)- 4. I added those scratches- in the B&W version of the photo- 5. - I took all these variations and blended them together playing with opacity- 6. Here, the results were almost like you see- played a little with curves and levels and contrast-- and that was it. :)
And excuse the delay of my reply. The last project was a sure kill! ;-) Glad I finished that, I can tell you!
Well, the critiques and the comments in UF... hmmm... lemme see. (Sweeeeeet voice on ;-)) Oooohhohooo, very nice image, very nice place, very nice people, very nice heavens, etc, etc. (Sweet voice off.) And Visar adds then "very nice repetition of yet another wannabe", ey? ;-)
Time is such a strange thing.. without it you don't get any motion at all. But with it, you just don't grasp its presence at a given moment. Still after some years you look at the mirror and ask the guy his name! ;-)
The techniques you applied here are very interesting - be them whatever they could be. Hard thing to map what's in memory onto actions in PS but the result is great. Many times my own memory plays such movies too, but I still don't know how to transform them into some images.
Surely the main "rule" would be to reconstruct the certain kind of mood using anything appropriate. But that's exactly the hard question: How to find what is appropriate for that? The answer you gave, the image itself, is worth studying alone for this kind of choosing the right tools out of a huge palette. So, do you remember perhaps any tools, actions, whatever? (I mean except smoking/drinking which is alwas necessary! ;-))
Hey Nick, how great to be back with you! thank you for the close observation of the image- in fact i am eager in having mroe critiques about this one, and the oncoming images here in UF...
Here, i have applied a new technique- a quite a tiring one! first, let me say that i do not like the plainness of the surface of the photo generated by digital sensors, and on the other hand i am missing film- for the organic feel it spawns. being aware of this, i decided in doing extreme manipulation with tones and colours. in addition, lately (again laltely) i am being obsessed with the motion. physical motion. Motion such as moving from point A to B, and this axis being just some sort of 'laying path' for the move to come!- it being intact by the time, as i think time does not matter; not that much, anyways- because, whether one month past or a year, from the last time i visited X city i still cannot get rid of the right feeling. In a way, i am most grateful for that!! But how to we get back there, to that X town?! Memory, stirrs the vividity of the sixth sense, believing on it as a mechanism of some hypertravelling- however, the aim is too high and the practice yet to be further scrutinized for realization- the important thing, i guess, is having set forth a goal worth spending hours, skin and bone and bursting red eyes travelling back and forth behind a butt of cigarette and with an engraved face in the fluids of the whiskey-bottom-glass, in front of buzzing screen of computer!
Having the memory as a reliable source, which many times fails me nonetheless, borderedged images, free of some strict rule (like that of the third) should be the right choise- at least, for a try!? ;)
This one has something almost impossible to describe in its mixture of the attitudes of the "aged". But it is not only the physical things like scratches and vignetting. It looks like an aged remembrance rather than like an aged image. There is some kind of... three-dimensional haze over it, I don't know how to explain that better. The haze doesn't extend over the image - it is *inside* it and seems to extend to the depth exactly as the people and objects also do.
Still, even on the darker faceds on the left we see details and the trees show vividness. The images "lives". The composition may include half persons and cuts but that view, much like into the tunnel or remembrance, surely integrates them all in a tight way.
What kind of trick do you do here, Visar? Did you perhaps connected your mind to the printer? ;-)
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{K:127263} 9/21/2008
