↑ Leica M2-R, Voigtländer Ultron Vintage Line 35mm f/2 Aspherical II, Kodak Portra 400, and Plustek 8200i.
Related
8 thoughts on “Third Base.”
Mmm this image has caught my eye in particular. I think it’s the elements of things happening overlaid with the lines and patterns, and the central character.
Hard to pin down, so I’ll just ponder it a bit more!
I know what you mean Andy! I think the geometry helps, but I can’t quite explain it either.
Well I quite like a lot of things about this one.
Thanks Mark! Maybe you can help Andy and I understand why, LOL…
All I know is that it somehow worked when I was composing the scene.
…Well for starters, the exposure, development, and colours are perfect. 👌🏼 Second, I like the fact that it is a “non-typical” sports image (the very thing that drew me to your “sports photography” in the first place). The fence and gate act as a sort of “window” into the action on the field, framed by the Coach (?) and fielder in the background. Finally, there is actually “action” taking place, and the viewer is left to wonder about the runner, and what exactly happens next at home plate. It is a masterful “story in a frame”.
Anyway, your question may have been rhetorical…but I told you anyway.
😂
That’s awesome Mark, that’s exactly the kind of helpful feedback I was looking for.
Glad also you approve of the colours since you are the film guru.
Nice summation Mark. The term “layers” was sitting inside my mind with this image. There are different elements in this at different depths in the image.
“Layers” I think is a good term. As I’ve thought about this more, I’m recalling my thought process at the time.
The focus was my son at 3rd base, framed by the coach, framed by the door. I was trying to get a few other elements in there, like the bicycle in the clubhouse, and the runner at 3rd in mid-step and sufficiently forward to help with the composition. It was tricky to get the players to “cooperate” because they were constantly moving; I almost pressed the shutter twice before the moment I actually did. Some of the other parts of the composition (including the other players on the field, and the larger field house in the distance) were not consciously arrived at, but welcomed.
Prosophos 
Mmm this image has caught my eye in particular. I think it’s the elements of things happening overlaid with the lines and patterns, and the central character.
Hard to pin down, so I’ll just ponder it a bit more!
I know what you mean Andy! I think the geometry helps, but I can’t quite explain it either.
Well I quite like a lot of things about this one.
Thanks Mark! Maybe you can help Andy and I understand why, LOL…
All I know is that it somehow worked when I was composing the scene.
…Well for starters, the exposure, development, and colours are perfect. 👌🏼 Second, I like the fact that it is a “non-typical” sports image (the very thing that drew me to your “sports photography” in the first place). The fence and gate act as a sort of “window” into the action on the field, framed by the Coach (?) and fielder in the background. Finally, there is actually “action” taking place, and the viewer is left to wonder about the runner, and what exactly happens next at home plate. It is a masterful “story in a frame”.
Anyway, your question may have been rhetorical…but I told you anyway.
😂
That’s awesome Mark, that’s exactly the kind of helpful feedback I was looking for.
Glad also you approve of the colours since you are the film guru.
Nice summation Mark. The term “layers” was sitting inside my mind with this image. There are different elements in this at different depths in the image.
“Layers” I think is a good term. As I’ve thought about this more, I’m recalling my thought process at the time.
The focus was my son at 3rd base, framed by the coach, framed by the door. I was trying to get a few other elements in there, like the bicycle in the clubhouse, and the runner at 3rd in mid-step and sufficiently forward to help with the composition. It was tricky to get the players to “cooperate” because they were constantly moving; I almost pressed the shutter twice before the moment I actually did. Some of the other parts of the composition (including the other players on the field, and the larger field house in the distance) were not consciously arrived at, but welcomed.