This collection of images intends to isolate the flower or fruit to make a format portrait. The background is intentionally pure white. That allows the viewer an intimate encounter without the narrative of habitat or place and allows for singular quiet contemplation.
Specific Feedback Requested
All feedback is welcome, concerning the image itself, to the presentation format, including the additions of chop and species/vernacular names.
The portfolio of this and similar images are intended to be printed 17X22, then matted and framed. I feel that it’s important to understand the provenance and final intent of an image to make constructive comments.
Thank you so much for your attention and participation.
Is this a composite: No
I photographed the plant in situ on the grounds of a local public park.
The background is an Impact Hexi 24, portable, light-weight, fabric light-box housing a Nikon SB-500 Speedlight. Two small Nikon Wireless Remote SB-R200 Speedlights with diffusers provide frontal lighting. All three flash are in manual mode, triggered by built-in Commander Mode.
The background is pure white (255 for each RGB Channel). Photographs are processed in Adobe Bridge and PS.
Nikon D-800, Zeiss Makro-Planar T* 100mm f/2 ZE, f22
oh such great detail and subtle shading given the white bg. I don’t think dogwood comes up this far north so it’s a nice view into the southern climes.
Rich, elegant, proud, stately. So many ways to describe your presentation of this dogwood branch. The clean background and subtle whites are perfect. Living during my teen years on Greenfield Hill in Fairfield, Ct and enjoying the glory of the dogwood festival I truly appreciate how you handled this image.
Paul, this is an excellent, high key look at this white dogwood. While my preference would be for the stem to touch the frame, that’s clearly an artistic choice and there are recognizable merits for your approach.
Thank you, Mark. I appreciate the comment.
I’ve had others comment on my pruning of branches, stems, occasionally leaves, etc. I prefer the fade as it’s intended to mirror the style of one branch of botanical art that keeps the subject floating in the frame. It’s also how herbarium sheets are properly prepared.
You’re absolutely right; it’s a preference.
I’m curious. What is it that why touching the frame pleases? I’m not being critical, but have a genuine interest in learning yours and others preference.
Thank you so much for your comments.
I don’t want to quit looking at this long enough to comment!!! It is elegant, drop-dead gorgeous! I admire your ability to produce an image like this in the field. That may be what contributes to the look of authenticity.
I love the fade of the stem, so that there is the same breathing room on all sides. That fits with the concept of floating on a white BG. The botanical name and chop are consistent with its elegance.
Do you have other posts here that I have missed? I would love to see the others in this series, and look forward to watching its progression.
Thank you, Diane. You are very gracious with your comments and they are most welcome.
I suppose the “look of authenticity” is a part of the subject of being a living thing being given attention and treated with respect. Some will say it’s a stretch to believe that trees have the capacity for human feelings, but who knows? Isn’t that the goal of Nature First, to respect the subjects we consider in our work?
I’m pleased you mentioned the epithet and chop. I’ve played with these endlessly. At first, the scientific and vernacular names were more prominent and had flourishes at either end. They have diminished over the progression of the project. Flourishes have been dropped, and the graphics faded to 50% to make them less noticeable.
Yes, I have been posting this project, and others, in the Images Showcase.
Again, thanks for the comments