I like it Jiro. The last couple from you seemed a touch over processed but this one has a really good melancholy feel to it. I often think looking at the ground beneath your feet always has a story to tell and we tend to ignore this view point most of the time
That is exactly what I try to do. If the the PP is not envisaged at the time of capture it is always going to be a lottery whether you get a desirable result. In fact I strongly believe it is essential if you are going to put any feeling into an image. This is an excellent example. You started on here with very up beat happy images but as I saw your processing develop it became obvious that the techniques would far better suit the darker more moody imagesMost of the time, the vision that I had simply guides me on what to do with the image on the post processing.
oh and if you applied this type of PP to people I think you would get some very desirable results if done with care
That's exactly the path that I am trying to take right now, Steve. When I see something that interests me, I try to see in my mind exactly how I want to alter it on the PP to make it work. I still have a long way to go but I am determined to learn and get better if possible. Small steps as how they say it. Thank you very much for your encouragement, Steve.
I wish I had just looked at the image and then replied before reading the exchange between Willie and Steve above, because now it just feels as if I'd be repeating what they have discussed and concluded.
So ...... see above!
What I find, on those occasions when it works, is that there is a tremendous buzz attached to realising that you have made the final image that was in your mind when you pressed the shutter.
Ah Willie, I like this edit better. It is easier to see the twig and how it complements the feather. Very nice.
By a small margin I seem to like this one too, Frank.
yin and yang...... I like the second edit better. Both edits speak to the heart and mind, then the eye.
Actually, I didn't like either edit...oh contrary me. I didn't see where the curvature of either the feather or the twig was enhanced by all the surrounding dead space..............so, of course, I removed it, went to a square compositional study where the dead space (negative space) pushes each object to the center, yet allows a non-constrictive environment where each can seemingly expand, as per Marie's suggestion of the Ying/Yang.
I find it is a wonderful subject. I feel that the first one is just fine. The 'happy' colours remove something from the mood. The first makes me (or forces me) spend more time looking at it.