Critique my train photo please

I like this shot and thought it would do ok but it got a 23 (range is 20-30) I thought it was because while the picture is straight (see the wires above the train cars) and the conductor is standing straight up, the train is tilted as it is on a curve. also above the train at the front is blown out.

Looks good. An HDR shot might be better and a polarizer.

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Photography is all about light. . That's the very essence of photography.

So, the first and most important thing to consider when viewing an image, or when contemplating an image to take, is the light itself; the quality of that light and the direction from which it is coming, relative to the subject(s).

When I first saw this photo, the first thing that struck me was the harsh light. . It appears to have been taken in the middle of a sunny day, as evidenced by the blown out cloud, the hard shadows on the side of the train car, and the strong glare reflecting off of the top half of the train car.

So I guess what I would like to know is, what was it about the light at this particular place and time that made you think it was a good opportunity to take a photograph of the train? . Were you thinking about the light, and when it may be best for taking such a photo, or did you just think, "the train looks kind of cool, and I like how the conductor is halfway out and halfway in the train, so I'll take a picture"?

I suppose that if you wanted a photo of this train that would score a 28 or 29 at your club's next meeting, the thing to do would be to go to the location at different times on different days under different conditions to figure out what kind of conditions are conducive for the most pleasing photo of the train. . Then look at the weather each day to see when those conditions will be present, and return to the location during those times.

Then you could try shooting it from various angles and frame it in different ways, in order to figure out the different ways of composing it that are available to you ...... only by doing so will you figure out what the most effective composition will be. . To learn about this, I recommend Scott Kelby's video entitled "Crush the Composition". . Unfortunately, this video is no longer available for free on YouTube, and you must start a free trial membership to Kelby One in order to view it (slight bummer). . But I do think it would be very helpful to you, and it would be worth seeing it if you are able to find a way to do so.

There is some potential here for good image-making, with this subject matter. . But it will take a lot of time and effort and strategizing in order to figure out how to shoot it in an effective manner.

It wouldn't surprise me if the photos that are scoring high grades at your club's competitions are ones that had a lot of time and forethought and planning put into them. . There are many things out there that catch our eyes, and "look cool", but don't present good photographic opportunities. . Figuring out how to get a truly good photo of something that "looks cool" is often a much more substantial endeavor than many people realize.


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So the lowest-possible score is 20? At least everyone will get a good score out of 30 with such a system.

It is a good photo showing a moment in time. There are some technical issues which have already been mentioned. Those could be fixed, as Tom mentioned, by going back often and getting better light. But would you go back repeatedly just for this? The impact factor is low. Winning shots need something special.

Tom
You nailed it, I was there waiting for the Acela to blow through the station at 150 mph, I was sitting on a bench within 6 feet of the track so I could get some blurred shots, it is also a rush when it blows past you standing within 3 or 4 feet of it.
The commuter rail came in and I took some pictures, try not to get recognizable passangers and snapped this with no forethought. Since I like it I will go back and try to plan the picture, light clouds time of day etc and see if I can get something good. It may not be possible due to the trees and station that obstructs the light but while I sit there watching what happens and how often the shot may be available I can enjoy watching the trains go by.

Sometimes a photo is what it is. This photo is nice enough as it is. It tells a story and has some nice compositional elements. Certainly the light could be better and with better light you might get better saturation and some better detail. But would the effort to wait for better light and hope to recreate the circumstances of the original photo (trains rarely hit the platform in just the same exact spot, nor will the conductor pose exactly the same) result in a photo that is significantly better?

As I replied to your other thread about camera clubs there are flaws in the judging systems that render them somewhat unimportant over the long haul.

Obviously the importance of lighting in regards to photography can't be overstated, but I actually think that the harsh lighting is less of the issue with this particular picture. In my opinion, you could have taken this picture at the exact same time that you did, but it would have been significantly better if you had done one major thing differently, and that is taken it from a different angle. Composition is just as important as lighting because even with the best lighting conditions in the world, your picture can be perfectly exposed and completely suck if your composition isn't good. For me what makes this picture very average is that it is shot from the exact same vantage point as everyone else that stands there waiting for the train. That makes this the exact same view that everyone always has of the train and THAT is why this isn't a very interesting picture. This is the same angle any non-photographer would shoot from. My suggestion for next time, assuming it is allowed, would be to stand on one of the steps of the train cars and shoot closely down the length of the train. That would make for a much more unique and interesting perspective which already makes the picture much better, plus the overly bright sky would no longer be a factor. I would also consider making this a b&w image since what color there is really doesn't add to the scene at all, and most street type photography is b&w to help remove the distractions of unnecessary colors. Just my two cents.

Interesting idea although standing on the steps isn't allowed however I could have stood on the bench that would have changed it somewhat. Or held the camera over my head with the flippy screen and stood right next to it. If I remember I was still sitting on the bench when I took it.

All ideas to try.

For me, this one is real easy. First, its over exposed. Not sure what metering method you were using, but it looks like the camera was weighing the shadows too much, and blowing out the highlights making the sky look wonkier. Clouds turned into balls a haze just don't add to the picture. so come down about 1/2 to a stop, and yes, you will loos a lot of shadows, but your skies will not be washed out. And the reflection of light from the metal siding will not be overblown too.

I also agree the image would look more dramatic as a b/w with they time of day lighting.

The other thing I am trying to do is capture motion. This is a very static image, and the conductor is looking away, at something, I don't know. So its hard to get sucked into the image. Ask yourself what the subject of the image is.... not sure I totally know what it is in this image.

But I love that you posted this shot. Its not a competition killer shot. But it does and can have interest. Just remember to think about what you want the subject to be, and then how do you frame that subject to the viewer is pulled to the subject. The blown out sections pull the eye, and when you do finally get low enough in the image, the conductor doesn't give you any clues or a story.

But I would have taken the shot too.. it was worth the electrons... in my opinion.

Mark

Croasdail wrote in post #19024290
For me, this one is real easy. First, its over exposed. Not sure what metering method you were using, but it looks like the camera was weighing the shadows too much, and blowing out the highlights making the sky look wonkier. Clouds turned into balls a haze just don't add to the picture. so come down about 1/2 to a stop, and yes, you will loos a lot of shadows, but your skies will not be washed out. And the reflection of light from the metal siding will not be overblown too.

I also agree the image would look more dramatic as a b/w with they time of day lighting.

The other thing I am trying to do is capture motion. This is a very static image, and the conductor is looking away, at something, I don't know. So its hard to get sucked into the image. Ask yourself what the subject of the image is.... not sure I totally know what it is in this image.

But I love that you posted this shot. Its not a competition killer shot. But it does and can have interest. Just remember to think about what you want the subject to be, and then how do you frame that subject to the viewer is pulled to the subject. The blown out sections pull the eye, and when you do finally get low enough in the image, the conductor doesn't give you any clues or a story.

But I would have taken the shot too.. it was worth the electrons... in my opinion.

Mark

Thank you, I will try redoing it and also try it as a B&W

Love to see what you come up with... I love it when Im wrong and someone surprises me with some perspective I didn't see myself.