
Originally Posted by
Downrigger
Obviously superb, I’m on board with all the superlatives here. But for CC, here’s something: The technical mastery (from shooting to processing) that renders for us this amazingly crispy-sharp bird results in a perfect pelican ON a soft image of the sea and sky, rather than IN the image.
I think this can happen often with well-shot, well-lit wildlife subjects for whom the only context is distant homogeneous sky and land or water (but particularly water). Maybe some post-crop vignetting to allow the image to acknowledge that it’s apparent subject is its only subject? Otherwise, I think including context that adds (booming cumulus clouds, waves crashing on rocks) and provides opportunity for more complex composition is an avenue to pursue.
I’ve sort of formulated this idea that to be more than documentary wildlife images need context or interaction, (think Audubon – who got both) but I’m a novice – perhaps there’s more.