full spectra

Wow, what a cruel environment with cruel colours.........I need a big glass of water....now, before I too die.......what a serious place !

ΣigmaTog

My first observation was of the dramatic effect of the darkness. Then I began to realize the extraordinary contrast between say Inez's (from Germany) high key and your intrigueing low key works. Perfect!

Both leave me spell-bound and influenced. As Oliver would say, "Please, sir, may I have some more?".

Claudio,

the PP process is interesting,

and some images are really cool,

they have assumed a sort of gothic look, a la Tim Burton.

Only I find the gallery maybe contains too much similar images, I wuld reduce them in number.

marco

I really like your portfolio based approach. It's a great way of showcasing your careful, related work, images that work together.  Striking and elegant.

My only suggestion would be to echo Marco - be careful about repetition, sometimes very good images have to be excluded simply because they are too similar to others.

I really like it.  Very immersive as a set and actually gave off a kind of creepy vibe with this processing which is really cool.  The organic matters photoset is similar subject matter but processed in a different way that gives off a completely different (but equally good) feel.  Love some of the composition on the shots as well Claudio.

many thanks to all of you for your nice words, very appreciated

in the next messages I will try to answer some of your questions

ciao

Scottelly wrote:

Another interesting set of photos Claudio, but I don't get the "Full Spectra" name. Two of the other galleries contain color photos too (and some are more colorful), so I'm wondering if there is some meaning to the name other than the fact that they're color. Could it be that since a few of the photos in that gallery appear to be monochrome, and it's not obvious that they are by just looking quickly at the photo, you named the gallery that way to reinforce the fact that all the photos in there are indeed full-color photos?

many thanks Scott, I like ambiguous "titles", I'm happy with your interpretation

during the development of this gallery I had the feeling of a sort of "infra-red effect", I know that purist of infra-red photography will strongly disagree, but I had this feeling

the original meaning of spectrum, a latin substantive, is "apparition", and it is full of apparitions,  spectral apparitions are around me every time I'm in the middle of woods

ciao

jande9 wrote:

Beautiful. The processing is not irritating at all. The results are inspiring and I wish I knew how you achieved them.

many thanks Jan, there are not "secrets" in my PP, all the photos are heavily underexposed (at least 4 stops) and desaturated, very very low contrast, and I add a split toning

the final result is obtained by dodging and burning

but not all the photos survive this strong treatment

ciao

DMillier wrote:

I really like your portfolio based approach. It's a great way of showcasing your careful, related work, images that work together. Striking and elegant.

My only suggestion would be to echo Marco - be careful about repetition, sometimes very good images have to be excluded simply because they are too similar to others.

David and Marco,

many thanks for your feedbacks, I know that repetition or similarities among the images can be seen quite negatively. I don't have a clear position on that, sometimes I hate repetitions, sometimes I cannot conceive a portfolio without them. For instance works like the seascapes of Hiroshi Sugimoto, the woodscapes of Michael Lange, Paul Hart, Pete Davis, Bae Bien-U, or the mountainscapes of Guido Baselgia seem to me so deeply grounded on repetition, on small variations, they would not make sense without them (at least from my point of view). Repetition is functional to "enter" into, to access, their worlds. I'm light years away from these masters, no comparison makes sense, it is just to argue for repetitions (at least is some cases).

Often the first version of my galleries is a little bit redundant. I need some time to revise and refine it (especially if it is the result of a very selective choice, for this one I started from 250 candidates). The feedbacks of other photographers are then very useful and precious.

I thank you and I will thank you again for more precise indications (even though maybe I will not take all of them, I like photography also because there is not photography, there are photographers, I hope as much heterogeneous as possible)

ciao

Barrie_Grieve wrote:

Stunning body of work, hopefully you don't mind but I've shared your website on Facebook ;-).

Yours,

Barrie

many thanks Barrie, also for sharing my website on Facebook (actually I'm not in Facebook, it is a deliberate choice, the reasons? a too long story...)

jrdigitalart wrote:

My first observation was of the dramatic effect of the darkness. Then I began to realize the extraordinary contrast between say Inez's (from Germany) high key and your intrigueing low key works. Perfect!

Both leave me spell-bound and influenced. As Oliver would say, "Please, sir, may I have some more?".

many thanks Jim, as I said in replying the comments of Marco and David, one of the thing that I really like of the photography is its heterogeneity. I'm always looking at photos that even though do not match my personal taste have a personality. "Personality inside" would be a good slogan.

It is an interesting question, whether an artist should listen to or respond to others' comments and suggestions.

I think it is important that artists have confidence in what they do and follow their own heart - do not pander to an audience, let the small subset of people who share your vision find you.

What I'm trying to say is do what you think is right for you and take no notice of me

mclaudio wrote:

DMillier wrote:

I really like your portfolio based approach. It's a great way of showcasing your careful, related work, images that work together. Striking and elegant.

My only suggestion would be to echo Marco - be careful about repetition, sometimes very good images have to be excluded simply because they are too similar to others.

David and Marco,

many thanks for your feedbacks, I know that repetition or similarities among the images can be seen quite negatively. I don't have a clear position on that, sometimes I hate repetitions, sometimes I cannot conceive a portfolio without them. For instance works like the seascapes of Hiroshi Sugimoto, the woodscapes of Michael Lange, Paul Hart, Pete Davis, Bae Bien-U, or the mountainscapes of Guido Baselgia seem to me so deeply grounded on repetition, on small variations, they would not make sense without them (at least from my point of view). Repetition is functional to "enter" into, to access, their worlds. I'm light years away from these masters, no comparison makes sense, it is just to argue for repetitions (at least is some cases).

Often the first version of my galleries is a little bit redundant. I need some time to revise and refine it (especially if it is the result of a very selective choice, for this one I started from 250 candidates). The feedbacks of other photographers are then very useful and precious.

I thank you and I will thank you again for more precise indications (even though maybe I will not take all of them, I like photography also because there is not photography, there are photographers, I hope as much heterogeneous as possible)

ciao

DMillier wrote:

It is an interesting question, whether an artist should listen to or respond to others' comments and suggestions.

I think it is important that artists have confidence in what they do and follow their own heart - do not pander to an audience, let the small subset of people who share your vision find you.

What I'm trying to say is do what you think is right for you and take no notice of me

what I'm trying to say is that the feedbacks from other photographers are very important, maybe just because I'm not an artist at all, but I like them

many thanks again David

JL Salvignol wrote:

Watching at your superb pictures, Claudio, I am amazed that one can assimilate Repetitions with Variations:

https://www.youtube.com/watch?v=N2YMSt3yfko

many thanks, a recurring theme/aria, millions of variations, why? I don't understand classical music, but I like Bach, the most mathematical classical composer I know... now I also have an explanation why I like so much his cello suites

ciao