Getting out of bounds

[bill boehme]

This is my first attempt at an out-of-bounds image after being blown away by the one posted jcumming (Jimmy). I know that this image isn't anything to write home about. It was one that I took for possible use in a newsletter and was shot from the back of the audience so the depth of field was a problem.

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[chauncey]

Bill, I got out of woodworking because of the cost factor and went into photography, not the sharpest chisel in the drawer.

I like those images and it looks like you did good.

[bill boehme]

Bill, I got out of woodworking because of the cost factor and went into photography, not the sharpest chisel in the drawer.

I like those images and it looks like you did good.

Thanks for the comments, chauncey.

I am learning some things about creating OOB images from my awkward first attempt. The perspective of the frame is very important and probably the most difficult, not from a technical point of view, but from an artistic perspective in order to have its orientation appear correctly with respect to its setting and also when viewed from the perspective of the viewer. This is necessarily an iterative process to get it right. After reviewing my finished product with fresh eyes, I now see that the frame orientation is not quite correct, especially on the bottom edge.

I have been woodworking for around thirty years and suddenly got sucked into into the woodturning vortex when I retired a few years ago -- it was then that I found out the meaning of the word "expensive". I sold my partnership in an airplane to save some money and then bought a camera ... won't I ever learn?

[tonydee]

Hi Bill. I've never attempted an OOB, so please make allowances re these suggestions. You did a great job of removing the background and inserting the blue gradient. If it's a woodworking/turning rather than photography magazine, I'm sure they'll be delighted as is, as I've only technical nit picks. You're probably aware already, but anyway: the off-white shirts have unnaturally dark overlap on the right shoulders with the white frame. I'm also wondering if you shouldn't curve the image inside the frame to match the frame... i.e. the vertical lines are still vertical in the resultant image, while the "virtual" frame is curling away from them. This is perhaps most noticable in the top right where the white board behind goes straight up exposing some yellow/brown wall. As you say, there's a general perspective thing that's very tricky too, but I don't think I can even gauge this until the above issue is addressed. Cheers, Tony

[bill boehme]

Thanks for your comments, Tony. Several of your thoughts also crossed my mind and were registered as "things that I need to work on".

As far as the color is concerned, lighting is a mess in our facility, but you brought up a good point about the color for the frame vs. other colors. General room lighting is cool white fluorescent while the demonstrator has low voltage halogen track lights all over the place -- they are more concerned about lighting for the video cameras mounted over the lathe than they are for the still camera guys. The walls are light gray, but shadows under fluorescent lighting will come out looking mustard brown when there is mixed lighting. By the time that the image gets printed, it will be shrunk to about 3" X 2".