* Visual Structure: Movement *

[NRich]

Too much movement I would say

Hi Lance... I'm pleased you've posted, you've certianly identified a lot of the movements present in this image with directional lines. I also see most of these - what I think would be usefull here to to try and narrow the number of lines to the stronger 7, so as to try and identify principle movements among many.

I'll work with you on this, if you provide an undited link. You may want to try another yourself with 7, and post back in the meantime. Consider the speed of such things as railings, and try not to ignore the sky area upper left, and review the movement in the bush area center.

http://genji.image.pbase.com/u21/lamho/upload/13360155.6524161.Outdoor102902030800x600 .

Bill B
http://www.pbase.com/bill_b

--
Lance

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[nzmacro]

And so the story goes. We place down a leaf and use our imagination. Its a floating world of beyond, a visual paradise, a dreamy leaf. We take a shot and what do we see.

A wisp of living veins flowing the breath of life into its soul. We see the sea of green and the view of an ant that lays upon the leaf. It could be in another galaxy as our mind grows to believe of the imagination that frees us to another world.

THEN, some kid with a new camera pops up and say's, its just a bloody leaf mate )

Such is the irony of what we see and how we see differently. What do I see, I ain't gonna tell ya, LOL.

All the best Marcel, the mind and vision is a funny thing. I don't know much of a world outside of macro and choose not to. Some will take landscapes and not even consider macro. Some will see beauty, some will see just lines. Interesting huh.

Danny.

-------------------------------------------------
Macro, what a world we get to see.
.................................................
http://www.macrophotos.com

 

[LanceD]

Norman,

Thanks for putting your time on my image and your kind words. There are too much "movement" I can draw, but to put down 7 strong one, it kind of harder. But here is my second try:



Those are lines that draw my eyes strongest. The rails are certainly the strongest of all. They are the reason I took the picture.

The original is at: http://www.pbase.com/lamho/outdoor_fall

Regards,

Too much movement I would say

Hi Lance... I'm pleased you've posted, you've certianly identified
a lot of the movements present in this image with directional
lines. I also see most of these - what I think would be usefull
here to to try and narrow the number of lines to the stronger 7, so
as to try and identify principle movements among many.

I'll work with you on this, if you provide an undited link. You may
want to try another yourself with 7, and post back in the meantime.
Consider the speed of such things as railings, and try not to
ignore the sky area upper left, and review the movement in the bush
area center.

http://genji.image.pbase.com/u21/lamho/upload/13360155.6524161.Outdoor102902030800x600 .

Bill B
http://www.pbase.com/bill_b

--
Lance

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

--
Lance

 

[DeeDee G.]

Ok, so I figure I had better start out with a no-brainer. If this is wrong, I am in a world of hurt. =/

This is a "non-action" shot compared to my first, but it appears to have a lot of "action" in it????



The original is here:

http://www.pbase.com/image/13384650

Please feel free to carve away Norman (or anyone else!)

Thank you again for challenger us!

DeeDee G.
http://www.pbase.com/deedee_g/root

 

[DeeDee G.]

This is a "non-action" shot compared to my first, but it appears to
have a lot of "action" in it????

The original is here:

http://www.pbase.com/image/13384650

Please feel free to carve away Norman (or anyone else!)

Thank you again for challenger us!

--
DeeDee G.
http://www.pbase.com/deedee_g/root

 

[LostFocus]

Hi Norman,

them, and post back the results to share and discuss.... Its an
open playful exercise

I still dont get the principle. AFAIK, you can only appreciate the scene once it is captured and frozen for inspection. For as long as there are variables before a shot, balance can be hard to measure.

My XT brain cud not translate the motion into practical use apologies or when I'm out shooting.

I like your lessons pointers here http://forums.dpreview.com/forums/read.asp?forum=1009&message=4414079 and I wud like to see your website discuss the principles you mentioned or an e-book for in-depth look.

Thanks for sharing your knowledge.

--
Cheers!

EmnmE
http://www.emnme.com/index.htm

 

[3rdEye]

just tagging it so i can come back and read it later.

 

[NRich]

Ok, so I figure I had better start out with a no-brainer. If this
is wrong, I am in a world of hurt. =/

This is a "non-action" shot compared to my first, but it appears to
have a lot of "action" in it????

Hi DeeDee......Yes - a paradox isn't it. the runner image we discovered has compound directional movements, and reads slower overall in movement, than the rapid singular spiral movement within the still rose.

This flower close-up, a clear distinct spiral movement inward toward the center. you got it, straight away ~ Its inescapable Our eye movement is simplified by the fact that there are neither distracting or complementary objects surrounding the spiral such as leaves, branches etc.

Perhaps now you have the confidence to try one that has more compound movement with varied elements. Maybe not worry about being right or wrong, Instead sustain a relaxed attention, on the ways in which your seeing the photo, and record that.

Regards
Norman
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

http://jjj.image.pbase.com/u22/deedee_g/large/13384652.CroppedRoseArrowsDSC00664 .

Thank you again for challenging us!
DeeDee G.
http://www.pbase.com/deedee_g/root

 

[NRich]

them, and post back the results to share and discuss.... Its an
open playful exercise

I still dont get the principle.

Hello EmnmE...".not getting the principle "- hmmm... In essense these issues are of a visual nature. The writing only points back to the seeing The intent is to highlight ones own perceptual process ~ I'm just facilitating here. I highly recommend filling in this 6 drawing visual exercise, and then I will have a better understanding of how you are currently perceiving movement, and we can then follow-up from there, if you like.

I like your lessons pointers here http://forums.dpreview.com/forums/read.asp?forum=1009&message=4414079 and I wud like to see your website discuss the principles you mentioned or an e-book for in-depth look.

As I see it the forum offers the unique opportunities for dialogue. My threads feature visual and creative issues. For complementary technical reference, I'd recomend the catalogued contributions of Shay and Ron Parr. Along with an educational reference standard specifically for Sony's 7x7series : iNova's e-book.

Thanks for sharing your knowledge.

--
Cheers!

EmnmE
http://www.emnme.com/index.htm

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[SmokinMan]

This time using one of my ordinary IR shots by the lake.

The way I see the movement is from two elipse trail of water moving up through the brances where move of the movement meet at the storming circular clouds. This is a great exercise and I love it.



Here is the unedited version of the pic. Thanks

http://www.pbase.com/image/13399986/medium

--
SmokinMan
DSC-F717

 

[DeeDee G.]

Thank you Norman. No Dunce Cap for today. =)

I will pick a picture that is more complicated.

D.

Ok, so I figure I had better start out with a no-brainer. If this
is wrong, I am in a world of hurt. =/

This is a "non-action" shot compared to my first, but it appears to
have a lot of "action" in it????

Hi DeeDee......Yes - a paradox isn't it. the runner image we
discovered has compound directional movements, and reads slower
overall in movement, than the rapid singular spiral movement
within the still rose.

This flower close-up, a clear distinct spiral movement inward
toward the center. you got it, straight away ~ Its inescapable
Our eye movement is simplified by the fact that there are neither
distracting or complementary objects surrounding the spiral such as
leaves, branches etc.

Perhaps now you have the confidence to try one that has more
compound movement with varied elements. Maybe not worry about being
right or wrong, Instead sustain a relaxed attention, on the ways in
which your seeing the photo, and record that.

Regards
Norman
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

http://jjj.image.pbase.com/u22/deedee_g/large/13384652.CroppedRoseArrowsDSC00664 .

Thank you again for challenging us!
DeeDee G.
http://www.pbase.com/deedee_g/root

--

--
DeeDee G.
http://www.pbase.com/deedee_g/root

 

[LostFocus]

Hi Norman,

Shay and Ron Parr. Along with an educational reference standard
specifically for Sony's 7x7series : iNova's e-book.

I'm still waiting for my ebook, it's been a week now. =)

Cheers!

EmnmE
http://www.emnme.com/index.htm

 

[NRich]

Hi Danny,

Thank you for participating through the exercise.. I know you've had mixed feeling regarding the theme of movement, and I will make a concerted effort to bridge understandings so that you and others may find these explorations of value.

I have made an 6 drawing exercise with you in mind. Your landscape( #1). These pencil outlines are two dimensional imagined scenes for the purpose of identifying varying directional forces of movement within the 6 compositions. Drawings #5 and #6 -apples - (read NZ gala apples, favorites ...my wife Linda is from NZ ).

The 4 apples in drawing # 6 are literally are not moving. It is a still photo - the 4 apples are still. (unlike moving river water.) The 4 apples are still, and yet within the drawing of # 6, one can discern perceptual movement - the way of our eyes tend to move, as we "read the 4 apples in this image visually ? Do you see this movement? If so how would you discribe it? There is strong movement in # 6 than does not exist in the single centered apple on its side of # 5. Do you see this? If so, please diagram with arrows of direction.

The invitation for you ( and others reading ) is to take these 6 drawings into editing software and diagram with 3-7 arrows predominant directional arrows of movement. and post back here. What is not currently apparent will become more apparent by doing the exercise ~ Its challenging yes, but also rather fun

You image, what a fine one this is -river rapids, inviting, expansive fast moving body of water through the image, crisp, and technically well realized.

Your main attention, through the arrows you've choosen appears to be movement, in a literal sense, the direction of the moving water. The arrows havn't yet recognized a variety of directional forces impinging, craddling, surrounding this movement, out to the corners.

For example look at the boulder in the lower right hand corner - still as stone,yes and yet, there is directional movement there. Do you see this? Without seeing counter acting movement our tendency will be to think of subjects as primarily spotlighted, and not fully make use of the directional forces available to us, right out to the corners of the rectangle.

Were not looking for lines as such within an image, were looking for movement, and recording compound movement wiIth lines. As all components effect each other in a photo," I'm not willing to say that only certain lines, or only certain movements interest me. At this point -How might you diagram the movement of this lower right boulder?

p.s. Providing thread participants an original link, would be helpfull. Again, this landscape is a fine image, allowing us to explore movement and a range of compositional possibilites.
Http: www.pbase.com/image/13430909.jpg

The mind and where it leads. IMHO, these are the only lines that
count. Its those lines that make me go "Click". No other lines in
this shot even interest me. Yes there are lines splitting left and
right, forward and back. Its only the lines leading forward and
that "S", that makes me push the button. No others. ).

All the best and may the lines be with you.

Danny.

-------------------------------------------------
Macro, what a world we get to see.
.................................................
http://www.macrophotos.com

--
Regards
Norman
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[NRich]

Hi SmokinMan

Well done - the image itself - and your translation of the movement within the rectangle -excellant overall IMO. The one areas that I see as having directional movement , not indicated is in the bottom right, I'd have been inclined to draw in an entry arrow - in toward the circling motion you've drawn. Otherwise I'm reading the image quite simular to you - a continent away Its interesting There are universals in compositional terms, as well as room for perceptual differences. I'm pleased your enjoying these exercises.

I would recommend a doing this with a minimum 60 photos for this exercise -overall as would painters- not all at once, over a season say. You'd be welcome to post back a few more here for feed back. I'd use contrasting lines for clarity, variations of red tend to work for most photos. Post a few where you are finding difficulty with movement and the relation of the compositional elements - and we could have a look together.

This time using one of my ordinary IR shots by the lake.

The way I see the movement is from two elipse trail of water moving
up through the brances where move of the movement meet at the
storming circular clouds. This is a great exercise and I love it.

http://jjj.image.pbase.com/u22/smokinman/medium/13399603.IR2 .

Here is the unedited version of the pic. Thanks

http://www.pbase.com/image/13399986/medium

--
SmokinMan
DSC-F717

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[NRich]

Hello Lance

This I find a challenging image - in its original form quite symetrical- the relations of the trees to sky - railing to sides stairs similarly weighted and proportioned. These relations in the original , to my eye provide more than enough stability. As the parallel movements were not quite circulating back into the image, I explored leveling the image and cropped slightly to the right -off center, adding more weight and direction from the right side branches, and offset the proportions of the lower 1/3 stairs to upper 2/3, tree/sky.

I found with this small change the movement began to circulate within the image more - right side upward - yellow breanching bending left. One of my lines recognizes movement up the center of the stairs as well as the side railing. I see the right railing as moving upward, the left side railing moving down ward.

This image may at first glance, appear simple, but as we both have worked on it - know its not A good reason as you've discovered simplifying is a an art in itself...I suggest focusing on the ofset relation of elements in an image, as you become comfortable with the stability of symmetry. I enjoyed the time I spent with this image and would encourage you to do a few more. My variation below:
Http: www.pbase.com/image/13454032.jpg

Those are lines that draw my eyes strongest. The rails are
certainly the strongest of all. They are the reason I took the
picture.

The original is at: http://www.pbase.com/lamho/outdoor_fall

Regards,

Too much movement I would say

Hi Lance... I'm pleased you've posted, you've certianly identified
a lot of the movements present in this image with directional
lines. I also see most of these - what I think would be usefull
here to to try and narrow the number of lines to the stronger 7, so
as to try and identify principle movements among many.

I'll work with you on this, if you provide an undited link. You may
want to try another yourself with 7, and post back in the meantime.
Consider the speed of such things as railings, and try not to
ignore the sky area upper left, and review the movement in the bush
area center.

http://genji.image.pbase.com/u21/lamho/upload/13360155.6524161.Outdoor102902030800x600 .

Lance

--

Regards
Norman
--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[LanceD]

Norman,

Your eyes impressed me. Now that you draw your lines, I can see it's more circularly than straight as I saw it earlier. As you said, due to its symetrical form, the rails, the sky, the image tends to guide people into thinking the movement is upward. I'll pick some other images for another try later.
Another point: your mind really draws you into seeing things, not your eyes.

Thanks

This I find a challenging image - in its original form quite
symetrical- the relations of the trees to sky - railing to sides
stairs similarly weighted and proportioned. These relations in the
original , to my eye provide more than enough stability. As the
parallel movements were not quite circulating back into the image,
I explored leveling the image and cropped slightly to the right
-off center, adding more weight and direction from the right side
branches, and offset the proportions of the lower 1/3 stairs to
upper 2/3, tree/sky.

I found with this small change the movement began to circulate
within the image more - right side upward - yellow breanching
bending left. One of my lines recognizes movement up the center of
the stairs as well as the side railing. I see the right railing as
moving upward, the left side railing moving down ward.

This image may at first glance, appear simple, but as we both have
worked on it - know its not A good reason as you've discovered
simplifying is a an art in itself...I suggest focusing on the
ofset relation of elements in an image, as you become comfortable
with the stability of symmetry. I enjoyed the time I spent with
this image and would encourage you to do a few more. My variation
below:
Http: www.pbase.com/image/13454032.jpg

Those are lines that draw my eyes strongest. The rails are
certainly the strongest of all. They are the reason I took the
picture.

The original is at: http://www.pbase.com/lamho/outdoor_fall

Regards,

Too much movement I would say

Hi Lance... I'm pleased you've posted, you've certianly identified
a lot of the movements present in this image with directional
lines. I also see most of these - what I think would be usefull
here to to try and narrow the number of lines to the stronger 7, so
as to try and identify principle movements among many.

I'll work with you on this, if you provide an undited link. You may
want to try another yourself with 7, and post back in the meantime.
Consider the speed of such things as railings, and try not to
ignore the sky area upper left, and review the movement in the bush
area center.

http://genji.image.pbase.com/u21/lamho/upload/13360155.6524161.Outdoor102902030800x600 .

Lance

--

Regards
Norman
--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

--
Lance

 

[NRich]

I am so new at this but then you have to start somewhere. I took
these two pics today with the intent of seeing movement. I would
not have seen these before I read this thread so I guess I've
achieved something if still at the rookie level. So for what it's
worth..



and here

http://genji.image.pbase.com/u21/reyeslp/upload/13359732.DSC_2431 .

Luis... i appreciate your posting - starting somewhere - thats it exactly - you show the courage to proceed by taking creative risks. With a camera we embrace the world, everything is fair game worth a try. Painters start from scratch painting in shapes and forms. Over centuries artists have discovered, circles are very difficult shape to work with. A circle within a rectangle well thats even more difficult - because it traps movement. A centered circle in the shape of a hollow pot - way more difficult again- like a black hole drawing the eye in with no way out, trapping movement.

Instinctively you have recognized this with the red circular line around the rim - good spotting. and I think given the diificult nature of the subject, your first try you've done quite well.

You've have accurately identified many lines of movement. I edited tighter in in my variation -cutting into the rim at the top crop, slowing down eye movement , a bit. I labeled the line that goes directly into the pot #1- and # 2 as the strong circular line around the rim, reinforced speed with the smooth slope of the chair arm. These circular movements are problematic, in ways I am unable to resolve with editing, so I didn't proceed further, than to identify the two stronger movements, and note their circular difficulties here.

Now for the good news you have a wonderful image in your gallery - birch trees beautifull figure ground relationships, having both flat and three dimensional movment, in itself an excellant image, - well realized and very suitable for the theme of this post # 1346441. I'd like you to look carefully at this image and then draw lines of movement with that photo, and we could follow up and work on it together, if its ok with you. My 2 line variation below;
Http: www.pbase.com/image/13464411.jpg

Here is an image of mine of pots, and winter sod from my slough gallery. Have a look at the way the circular issues are handled with camera perspective, resonance, diagonal and oblong shapes.
Http: www.pbase.com/image/7900634,jpg

http://www.pbase.com/image/13359734 .

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[reyeslp]

Norm...thanks for taking the time to do this thread and for taking the time

to respond to my posting. I note your comment on 'taking creative risks' and I see the risk as inaction. To grow as a photographer, you have to take these kind of approaches.

I think this is the photo that you referred to. And at the time I took it and until the time of this thread the movement as I perceived it was this:



.

I then took a stab at it again and saw the movements as this:



.

I never perceived the movement from the left on the grass through the trees into the parking lot until I did this exercise. But I still think there is something too simplistic in my approach and I am still struggling. I came up with this next version.



.

I am not sure I am imagining it but I see the box going counterclockwise as another movement.

Almost a year ago I took a class in basic composition and in that class I learned why some pictures appealed to me and why not. The composition techniques at the time included rule of thirds, leading lines...etc. And it was a revelation. As the last 2 threads you've initiated...layers and movement. It's brought my understanding of composition just that much more...and I hope to use that understanding to create better compositions.

I look forward to your analysis of my posting.

Best Regards,

Luis

Instinctively you have recognized this with the red circular line
around the rim - good spotting. and I think given the diificult
nature of the subject, your first try you've done quite well.

You've have accurately identified many lines of movement. I edited
tighter in in my variation -cutting into the rim at the top crop,
slowing down eye movement , a bit. I labeled the line that goes
directly into the pot #1- and # 2 as the strong circular line
around the rim, reinforced speed with the smooth slope of the chair
arm. These circular movements are problematic, in ways I am unable
to resolve with editing, so I didn't proceed further, than to
identify the two stronger movements, and note their circular
difficulties here.

Now for the good news you have a wonderful image in your
gallery - birch trees beautifull figure ground relationships,
having both flat and three dimensional movment, in itself an
excellant image, - well realized and very suitable for the theme of
this post # 1346441. I'd like you to look carefully at this image
and then draw lines of movement with that photo, and we could
follow up and work on it together, if its ok with you. My 2 line
variation below;
Http: www.pbase.com/image/13464411.jpg

Here is an image of mine of pots, and winter sod from my slough
gallery. Have a look at the way the circular issues are handled
with camera perspective, resonance, diagonal and oblong shapes.
Http: www.pbase.com/image/7900634,jpg

http://www.pbase.com/image/13359734 .

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[reyeslp]

Norm,

By the way, your sample was a wonderful image. In the old days I would have said that it was too 'busy'. I am amazed at the complexity of your images and the simplicity that it comes across.

Regards and thanks for sharing,

Luis

I am so new at this but then you have to start somewhere. I took
these two pics today with the intent of seeing movement. I would
not have seen these before I read this thread so I guess I've
achieved something if still at the rookie level. So for what it's
worth..



and here

http://genji.image.pbase.com/u21/reyeslp/upload/13359732.DSC_2431 .

Luis... i appreciate your posting - starting somewhere - thats it
exactly - you show the courage to proceed by taking creative
risks. With a camera we embrace the world, everything is fair game
worth a try. Painters start from scratch painting in shapes and
forms. Over centuries artists have discovered, circles are very
difficult shape to work with. A circle within a rectangle well
thats even more difficult - because it traps movement. A centered
circle in the shape of a hollow pot - way more difficult again-
like a black hole drawing the eye in with no way out, trapping
movement.

Instinctively you have recognized this with the red circular line
around the rim - good spotting. and I think given the diificult
nature of the subject, your first try you've done quite well.

You've have accurately identified many lines of movement. I edited
tighter in in my variation -cutting into the rim at the top crop,
slowing down eye movement , a bit. I labeled the line that goes
directly into the pot #1- and # 2 as the strong circular line
around the rim, reinforced speed with the smooth slope of the chair
arm. These circular movements are problematic, in ways I am unable
to resolve with editing, so I didn't proceed further, than to
identify the two stronger movements, and note their circular
difficulties here.

Now for the good news you have a wonderful image in your
gallery - birch trees beautifull figure ground relationships,
having both flat and three dimensional movment, in itself an
excellant image, - well realized and very suitable for the theme of
this post # 1346441. I'd like you to look carefully at this image
and then draw lines of movement with that photo, and we could
follow up and work on it together, if its ok with you. My 2 line
variation below;
Http: www.pbase.com/image/13464411.jpg

Here is an image of mine of pots, and winter sod from my slough
gallery. Have a look at the way the circular issues are handled
with camera perspective, resonance, diagonal and oblong shapes.
Http: www.pbase.com/image/7900634,jpg

http://www.pbase.com/image/13359734 .

--
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions

 

[NRich]

Hi Danny

I recall a while back you interests in artistic issues such as composition, in a post you titled..."Are we missing the art in photgraphy:
http://forums.dpreview.com/forums/read.asp?forum=1018&message=3559413

It is quite interesting - I recall that post, and enjoyed it -In this thread of your specifically mentioning composition, you asked : " any thoughts ????" Whats happened since ? It may be helpfull for you to open this post up and re-read of your own words regarding art : not "just clicking, but picking " - I like that, I liked that then and now.

I'm puzzled by your contrast with, "some see beauty and some will see just lines ". I have yet to see indication of this by any poster in this thread . What I do see is numorous posters, giving there images their full attension in regards to movement, and indicating that process with directional lines... so I'm puzzled....Perhaps you can clarify these apparent contradictions. Your descriptive above to Marcel is IMO beautifully poetic, and then you add you "don't know much of a world outside of macro and I don't want to".

I'm curious: are you saying you feel compositional concerns don't apply to marco?

lets see in a follow up if we can close the gap, shall we? A number of times now you have placed emphasis on lines in the photo. Its directional movement were looking for, not lines. Lines are the by-product of our awareness of movement. Were adding lines temporarily on a practice image, to exercise compositional understandings. Were using lines here as an indication of apparent movement.

And so the story goes. We place down a leaf and use our
imagination. Its a floating world of beyond, a visual paradise, a
dreamy leaf. We take a shot and what do we see.

A wisp of living veins flowing the breath of life into its soul. We
see the sea of green and the view of an ant that lays upon the
leaf. It could be in another galaxy as our mind grows to believe of
the imagination that frees us to another world.

Beautifully put .

THEN, some kid with a new camera pops up and say's, its just a
bloody leaf mate )

I feel your pain, and exasperation with those unwilling to share your discoveries. Its ironic in context of this thread

Such is the irony of what we see and how we see differently. What
do I see, I ain't gonna tell ya, LOL.

Perhaps you can respond to the 6 drawings I made for you. Starts with "Danny"... in the post heading. After which decide if its been usefull?

All the best Marcel, the mind and vision is a funny thing. I don't
know much of a world outside of macro and choose not to. Some will
take landscapes and not even consider macro. Some will see beauty,
some will see just lines. Interesting huh.

Most are looking for new compositional discoveries in their own work in this thread - How about you?

Danny.

-------------------------------------------------
Macro, what a world we get to see.
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http://www.macrophotos.com

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Regards
Norman
NRich
http://www.pbase.com/norman
http://www.pbase.com/norman/dsc_f717_expressions