Nürmberg
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Kodiak Qc
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The first two and last, Mark, would benefit a tweaked with the PC tool.
I see, on my screen, that the pictures are somewhat a tad too flat in DR
— in the Sun or not (easy to tweak too!). All in rendition tweakable
The first two and last, Mark, would benefit a tweaked with the PC tool.
I see, on my screen, that the pictures are somewhat a tad too flat in DR
— in the Sun or not (easy to tweak too!). All in rendition tweakable
OP
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Kodiak Qc
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That's Parallax Correction … part of any good RAW converter
I could illustrate but your edit says NO!
Yeah, welcome to the club, Mark!
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The second is the most successful of the lot, not just because of the light, which is pretty flat in the rest of the photos you have presented, but also because the compositional elements are clearly laid out within the frame.
In the third image, there ought to be some kind of intended relationship between the graves in the foreground and what is going on in the background, but I cannot discern one. I'd probably have tried to frame the shot to exclude the background. Also, watch out for your own shadow! You seem to be holding the camera up above your head.
I also feel there the last two represent some missed opportunities: I'll elaborate just on the first.
The architect of the Dokumentationszentrum Reichsparteitagsgelände, Günther Domenig, produced some of the most radically dynamic buildings of the latter half of the 20th century, and I'm not getting any of that. Albert Speer's Nazi-era building is speared by Domenig's intervention, which cuts diagonally through it. Domenig's father was a Nazi judge and he's making a statement about his own personal heritage as much as Germany's national heritage, disrupting and subverting the central axis of the original building.
As it's now a hybrid of two different buildings, in my mind, there would be two fundamental approaches to photographing it:
1) Frame it absolutely flat-on, keep the verticals vertical, the horizontals horizontal, match exactly the stripped-down neoclassicism of the Nazi structure
2) Go as wild as you can with the angles to make as dynamic a composition as possible, probably from close to the corner with a wide lens, so as to resonate with Domenig's intervention. There will also be lots of structural detail to pick out with a longer lens.
Where you are falls rather between those two stools and suffers for it.
In the third image, there ought to be some kind of intended relationship between the graves in the foreground and what is going on in the background, but I cannot discern one. I'd probably have tried to frame the shot to exclude the background. Also, watch out for your own shadow! You seem to be holding the camera up above your head.
I also feel there the last two represent some missed opportunities: I'll elaborate just on the first.
The architect of the Dokumentationszentrum Reichsparteitagsgelände, Günther Domenig, produced some of the most radically dynamic buildings of the latter half of the 20th century, and I'm not getting any of that. Albert Speer's Nazi-era building is speared by Domenig's intervention, which cuts diagonally through it. Domenig's father was a Nazi judge and he's making a statement about his own personal heritage as much as Germany's national heritage, disrupting and subverting the central axis of the original building.
As it's now a hybrid of two different buildings, in my mind, there would be two fundamental approaches to photographing it:
1) Frame it absolutely flat-on, keep the verticals vertical, the horizontals horizontal, match exactly the stripped-down neoclassicism of the Nazi structure
2) Go as wild as you can with the angles to make as dynamic a composition as possible, probably from close to the corner with a wide lens, so as to resonate with Domenig's intervention. There will also be lots of structural detail to pick out with a longer lens.
Where you are falls rather between those two stools and suffers for it.