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Another crop from Thomas and Perry shows how different an image can be made through thoughtful cropping. I am not suggesting that photographers should not attempt to frame the final image in camera; I’m only showing that one needs to be open to the possibilities that thoughtful cropping offers.
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Last month I read an interesting book, The Photographer’s Eye by Michael Freeman , which is a fantastic book on the subject of composition. In one chapter Freeman discusses the many possibilities that often lie within a single frame. He points out how by selectively cropping the image the photograph can be used to tell several different stories.
I decided to take the image I posted this morning, Perry and Thomas, and see what other ways I could use it. By cropping the figures from the left side of the frame I was able to create an entirely different image that speaks to texture, color and composition without any visible human involvement.
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While installing the handrails on the Big Four Bridge, Perry and Thomas had to cut some of the large rivets away to make room for the handrail base. The pneumatic chisel they are using is a handful and the job goes better when they work as a team.
I wanted to capture the movement as they cut the rivets so I used a slow shutter to allow their figures and the tool to blur while retaining the texture on the steel. I wasn’t sure how the images would turn out but once I loaded them into Aperture 3 I saw that I had captured the essence of the workers and the impact that the chisel makes as it hammers away at the stell.
I started by processing the image with Aperture 3 where I did some initial RAW adjusting and sharpening. I then took it into NIK HDR Efex Pro 2 where I applied a realistic preset and some tone mapping. After that it was back into Aperture 3 for final sharpening and some saturation and vibrancy adjustments.
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Today’s image was taken from above the Big Four Bridge when Tim Williams took me up in the 135 foot tall man lift. We were in one of the middle spans on the bridge and as he worked the basket through the bridge super structure I saw this image. We were looking south over the top of the bridge and for the first time I saw the beauty of the elliptical ramp that leads up onto the bridge from Waterfront Park. The ramp is a quarter mile long and is an engineering marvel. It incorporates multiple radia as it spirals up to the bridge. The engineering that went into designing and building it have led to numerous engineering and architectural awards.
I chose to process this black and white version in Aperture 3 using the Black and White adjustment panel. I tried all the various filters and ultimately opted to use the orange filter to get the level of contrast I was looking for. After that I adjusted the exposure, contrast and sharpening before exporting it as a 300 DPI JPEG file.
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This image is a single frame that I used NIK HDR EFex Pro 2 and Aperture 3 to process. By using NIK’s U-Point Technology feature I was able to enhance and fine tune the tonality of the oranges and blues of Jack’s welding jacket while maintaining the natural colors of the river and skyline in the background. I was in the man lift basket which allowed me to shoot him from a safe vantage point above the bridge. I am especially pleased with the way the arc of his welder has maintained it’s brilliance and the way the sparks are spraying to the right side of the frame.
This composition has several elements that make it strong. There is the angle of the bridge safety rail in the foreground to the Kennedy bridge in the middle ground and the Clark Memorial Bridge beyond that. There are also the complementary colors of the jacket, safety harness and the river below all of which work in harmony to unify the composition. Finally there is the way the safety harness and Jack’s arm create rhyme in the photograph along with the repetitive linearity of the bridges and handrail.
