Old 01-18-2012, 06:09 PM   #1
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Default Recrop or Go to a Later Frame or Fuggedaboutit?

This was rejected for bad cropping... I am wondering is there something I should take off it, or should I instead go to a later frame with the train further into the scene?

http://www.railpictures.net/viewreje...=1005903&key=0

I had chosen this one as it appealed to me personally more, with the train appearing behind the old building, but the original intent had been to also include much of the bridge which I can only do when the train is further along of course.

Or is the whole thing a waste of time and I should just forget it?
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Old 01-18-2012, 06:15 PM   #2
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Right now, IMO, the subject is the building. If you crop some off the bottom and some off the right side of the building then the subject will shift to the train (again standard rule of thirds apply).

Those are my thoughts.
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Old 01-18-2012, 06:41 PM   #3
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Couldn't you include the building and the bridge by moving further down the right?

I think your photo is a bit horizontally-centered, and there is a lot of uninteresting gravel driveway... but there's definately something to do at that spot!
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Old 01-18-2012, 07:00 PM   #4
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Couldn't you include the building and the bridge by moving further down the right?

I think your photo is a bit horizontally-centered, and there is a lot of uninteresting gravel driveway... but there's definately something to do at that spot!

Could be done a different time of day, but I'd be across the street then and could get screwed by traffic. Not sure standing in the street there works...

But in total, the answer is yes, and that may be a much a better shot.

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Right now, IMO, the subject is the building. If you crop some off the bottom and some off the right side of the building then the subject will shift to the train (again standard rule of thirds apply).

Those are my thoughts.
I think that actually describes what I did in the later frame. Let me go back and look at that one (it had been the intended shot anyway - maybe I was right thinking that way to begin with).
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Old 01-18-2012, 11:12 PM   #5
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You could loose part the the building - I don't see inclusion of the entire building as a necessity as part of the building alone works well.

The foreground is a bit dull - the more you loose of it, the better.

/Mitch
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Old 01-19-2012, 01:17 AM   #6
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Originally Posted by Mgoldman View Post
You could loose part the the building - I don't see inclusion of the entire building as a necessity as part of the building alone works well.

The foreground is a bit dull - the more you loose of it, the better.

/Mitch
Ditto Mitch, plus you'd lose the shadow.
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Old 01-19-2012, 02:58 AM   #7
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Default Recrop

Just crop tighter.
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Old 01-19-2012, 03:38 AM   #8
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There's definitely a good shot in there. I would come in much tighter and give more visual weight to the interesting clouds, and the tree. This also reduces the foreground---which is basically just dirt (and flat at that). I think this version looks better (IMHO at least).
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Old 01-19-2012, 03:40 AM   #9
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Looks like you had room to go right and not do a perpendicular view of the side of the building. Also looks like you had the sun low enough to keep the engine lit even had it gone, say, another length forward? I would prefer angled view of the building, I think, rather than this more side-by-side with the train view.

http://maps.google.com/maps?q=map+ca...h&z=20&vpsrc=6

I take it the bridge seen in the shot is the completed version of what is being built in the Google view?

PS: nice avatar, Ron!
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Old 01-19-2012, 04:11 AM   #10
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The bridge behind the locomotive kills it for me.

The soul draining light mid day of LA is very evident.

Lord, that is sum uggy light.

So says a former 7 year resident.
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Old 01-19-2012, 05:19 AM   #11
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Now, don't be hatin', Dennis... You know you miss Pink's, Tommy's, Langer's, Tito's, and Phillipe's, even in this light.
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Old 01-19-2012, 06:27 AM   #12
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The train is distracting, I suggest you shoot it when there is no train coming by.

Also, not a fan of the bridge.
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Old 01-19-2012, 12:20 PM   #13
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Tried one that was between Andrew's and Ron's takes... rejected for the same reason.

http://www.railpictures.net/viewreje...0&key=56737453

And I don't love the one with the train much further into shot (the next frame) so I'm just going to have to go back and try again.

Won't get a Dash 8 in Phase IV paint of course, but that's life.
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Old 01-19-2012, 12:24 PM   #14
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Now, don't be hatin', Dennis... You know you miss Pink's, Tommy's, Langer's, Tito's, and Phillipe's, even in this light.
I DO miss riding my '65 Mustang during sunset in the Hollywood Hills and zipping, (yes zipping) down the Santa Monica Freeway with Springsteen's "Thunderroad" blasting.

I miss the smell of eucalyptus, the dogs of Pinks, the Margaritas of El Coyote, the incredible second hand bookstores of Hollywood Blvd, the incredible cinemas like the Cinerama Dome and the Chinese, walking beautiful Westwood in the evening, and working the big studio stages at Universal, 20th Century Fox and MGM.

But I don't miss the smog and how it sucked all the life out of the mid day light.
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Old 01-19-2012, 12:27 PM   #15
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Wow - I miss most of that stuff too - and I'm still here.

Times change.
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Old 01-19-2012, 01:51 PM   #16
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My vision was somewhat like Ron's version. Although we all have been sort of brainwashed into what a train photo is "supposed" to look like. I'd like to take some famous landscape photog's who have never done trains and see if they would come up with the same ideas as to what a proper train photo should be.
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Old 01-19-2012, 03:00 PM   #17
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I wouldn't give up on it just yet. Maybe try something like this. I think it's pretty neat.



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Old 01-19-2012, 03:11 PM   #18
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Quote:
Originally Posted by Dennis A. Livesey View Post
I DO miss riding my '65 Mustang during sunset in the Hollywood Hills and zipping, (yes zipping) down the Santa Monica Freeway with Springsteen's "Thunderroad" blasting.

I miss the smell of eucalyptus, the dogs of Pinks, the Margaritas of El Coyote, the incredible second hand bookstores of Hollywood Blvd, the incredible cinemas like the Cinerama Dome and the Chinese, walking beautiful Westwood in the evening, and working the big studio stages at Universal, 20th Century Fox and MGM.

But I don't miss the smog and how it sucked all the life out of the mid day light.
I used to own a 1966 Mustang (in the '60s, actually)...but I don't think we have any of those other things here in Wise County, Virginia. Life here runs in low gear...
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Old 01-19-2012, 03:59 PM   #19
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Quote:
Originally Posted by Dennis A. Livesey View Post
I DO miss riding my '65 Mustang during sunset in the Hollywood Hills and zipping, (yes zipping) down the Santa Monica Freeway with Springsteen's "Thunderroad" blasting.

I miss the smell of eucalyptus, the dogs of Pinks, the Margaritas of El Coyote, the incredible second hand bookstores of Hollywood Blvd, the incredible cinemas like the Cinerama Dome and the Chinese, walking beautiful Westwood in the evening, and working the big studio stages at Universal, 20th Century Fox and MGM.

But I don't miss the smog and how it sucked all the life out of the mid day light.

Funny how the L.A. experience is different from that of the O.C.

They are only 35 miles apart, but they may as well be on opposite sides of the earth.


HG - Who occasionally takes trips with the family to the "big city" for things.
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Old 01-19-2012, 04:00 PM   #20
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Funny how the L.A. experience is different from that of the O.C.

They are only 35 miles apart, but they may as well be on opposite sides of the earth.

HG - Who occasionally takes trips with the family to the "big city" for things.
I grew up in New Jersey, 8 miles from the George Washington Bridge and top of Manhattan. Where I grew up was more like Ohio or Indiana than it was like NYC.
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Old 01-19-2012, 04:04 PM   #21
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I grew up in New Jersey, 8 miles from the George Washington Bridge and top of Manhattan. Where I grew up was more like Ohio or Indiana than it was like NYC.
Yes, there are a number of movies and books that make reference to that fact.

Usually cinematographers portray this issue by having their characters sitting on the water front in NJ staring across the water at the lights of Manhattan.
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Old 01-19-2012, 07:40 PM   #22
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Charles, now much can you back up? I think you need to put some more distance between you and subjects and then zoom in bringing them tighter together in the frame. I'd keep the bridge pillar on the left and allow the nose of the train to get a little closer to that as well. By backing up and zooming in, you'll reduce a lot of the wide open dirt lot in the foreground. And next time, try to park your vehicle so its shadow is not creeping into the scene.
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Old 01-19-2012, 07:54 PM   #23
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Charles, now much can you back up? I think you need to put some more distance between you and subjects and then zoom in bringing them tighter together in the frame. I'd keep the bridge pillar on the left and allow the nose of the train to get a little closer to that as well. By backing up and zooming in, you'll reduce a lot of the wide open dirt lot in the foreground. And next time, try to park your vehicle so its shadow is not creeping into the scene.

It's a good idea. I'd have to be across the street though - so there's always that risk of a car blocking the shot, but it's worth a try for sure. As Janusz noted, the building's front is actually more interesting, so a slightly different angle could be had from there too.
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