Tim Tucker

Lives in United Kingdom United Kingdom
Joined on May 18, 2014

Tim Tucker's recent activity

  • I don't think you're asking the right question, and the question's worded as though saturation is the property of colour. Because the saturation slider is the control for colour many photographers ...
  • Now I'm confused. If it's a myth then why are you using the symmetries derived from it to define composition? That there are some quite complex and exact symmetries that can be defined by ...
  • So you missed the bit about static and dynamic rectangles then, (in the book)? With the static being rectangles made of whole integers such as 3:2 and dynamic being the irregular numbers such as ...
  • Because you apply a grid that's entirely based on their formation and classical proportions across photographic images to explain their composition. The grid you show is derived from a Golden ...
  • It helps for others to see how this 'special' grid is formed and from where it is derived. It really comes from how you create shapes with a pen, straight edge, set square and compass. It is how ...
  • To be honest the first time I saw that photo I thought that it was a reference to a well known renaissance work. When Googled I found that there was a series with one based on The Last Supper. ...
  • Yes. Yes. They certainly seem to be on this site. Ah, I'm an old timer and have to disappoint you here. Which is a bit of a loaded question. Back in the film days publishing was limited to the ...
  • I think that many photographers think in far too absolute terms. Composition is not all about drawing lines that follow precisely the lines visible on images, but when organising your images it is ...
  • Err, I'm not really sure about your analysis here. Though I agree about the squareness and solidity of the main subject the lines you draw only follow actual lines in the image, or lining up ...
  • These patterns and symmetries do exist. Elements within pictures are organised. If I try to explain it from another viewpoint maybe it's a little clearer. When a painter starts he starts with a ...
  • LOL, of course Len. I've even done it myself. But have found that a lens that has been squirted with some unknown oil to 'free it up' is never the same no matter how carefully you are in taking it ...
  • I would have reservations. The oil you found was probably as a result of someone squirting a load in to free up a lens that had not been stored properly, and hence the grease had dried up. I would ...
  • Yes, but this is not a snapshot taken with a camera. It is a considered painting on a wooden panel. So why do you equate it with the unconsidered works by photographers? Also why do some ...
  • Ah, but that's your analysis based on your understanding of composition and not Degas'. It's easy to read thirds into this because thirds is a rule you read about. Consider this: Does the pole ...
  • Aye, and you also have to factor in that when Degas painted it photography was considered and posed, not digital and automated. When he painted this he was pushing the accepted and producing ...
  • Firstly, as ggbutcher points out, they are not rules at all but an understanding how we see and respond to visual stimuli. Secondly, you are not judging the image by what Degas was trying to ...
  • I would agree with that. :-)
  • Or option 3) Develop the neg and make a proper wet print. With overdone tone-mapping, equalised micro-contrast and over sharpening a digital scan of a neg can look gust the same as many a digital ...
  • Basically, yes. If you want the large format land film look then you HAVE to shoot large format land film. You can't replicate the actual print with a DSLR. However what took the OP's eye was a low ...
  • This is a very low resolution digital scan, but it is the one you wish to emulate so it is entirely possible to get close with digital. However you will not get close to the actual wet print itself. ...
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Total messages 1223
Threads started 42
Last post 1 week ago
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Last post Aug 27, 2015
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Last review Feb 8, 2015
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