# Under the Bridge



## bulldurham (Jan 17, 2016)




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## Designer (Jan 17, 2016)

Oh, the ambiguity!  

I love the ambiguity of light vs. dark areas.  

Nominated for POTM, January, 2016


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## tirediron (Jan 17, 2016)

Outstanding!


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## bulldurham (Jan 18, 2016)

Thanks for the POTM Nomination. I am honored.


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## jcdeboever (Jan 18, 2016)

That is really cool.


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## KenC (Jan 18, 2016)

Nice - wouldn't change a thing.


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## IronMaskDuval (Jan 18, 2016)

Amazing!


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## xDarek (Jan 18, 2016)

So cool.I love that light how it is making a star!


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## MrMikeyZ2189 (Jan 19, 2016)

Unreal.


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## Trever1t (Jan 19, 2016)

scrolling down to view it. Awesome shot and conversion. I think it'd look better by cropping out that water at the bottom, causing more focus upward


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## bulldurham (Jan 20, 2016)

I've edited that shot 60 ways to Sunday and I keep coming back to this one. So, this is where it will stay for the time being but do appreciate the suggestion.


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## weepete (Jan 20, 2016)

Cracking shot. If you hadn't already got a potm nomination for this I'd have given you one!


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## Tim Tucker (Jan 20, 2016)

I'm going to like this because it's good, then risk derision by offering an alternate edit.

This is presented not as correct, only different.

1) I find the contrast a little too much in both the water in the foreground and the edges of the carriageways, they're too bright. I would tone it down a little.
2) You should keep the water, (but a little less of the highlights in it), but as you're counterpointing light vs dark you could crop this so the light/dark is roughly 50/50 on the concrete base in the lower foreground. This 'equality' almost broadcasts the theme because it's an exact and recognisable division. It also takes away the 'heavier dark' on the left (you have to crop the top as well) to balance the image a little better and stops your eye from escaping from under the bridge to the left.


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## bulldurham (Jan 20, 2016)

I like what you've done and in print it looks far more like this than it does on the net because the net cannot seem to blend midtones worth a flip. I'll take a longer look at it later this evening and see what I can do to ease up on the contrast.


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## Tim Tucker (Jan 21, 2016)

bulldurham said:


> I like what you've done and in print it looks far more like this than it does on the net because the net cannot seem to blend midtones worth a flip. I'll take a longer look at it later this evening and see what I can do to ease up on the contrast.



As you already know, but repeated for any beginners, that's the difference between additive and subtractive colour systems. In your print (subtractive) the highlights and mid-tones are the light reflected off the paper base, on screen (additive) you're generating and transmitting actual light, the equivalent of shining a torch in your eyes.
A big killer of mid-tones is the clarity slider for screen based images. It's just like a mid-tones weighted wide radius un-sharp mask. A great tool for prints where the natural paper base is white and you want to stop it reflecting too much white light, but not so good for screen where the natural base colour is black. You're not only pushing mid-tone separation but you're actually removing light against a black base, it's easy to add black to a screen image but more difficult to do the same with a print. I don't use clarity for screen based images, in fact unless the shot calls for it I don't use much black at all.


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## Didereaux (Jan 21, 2016)

Kudos....galore!


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## bulldurham (Jan 21, 2016)

Having been a darkroom printer pretty much all my photographic life, it's hard for me to turn my head around for screen viewing but I am getting better. For the last few weeks since I made this shot, I've been working in developing specific channels to address exactly what you are talking about so I can create one image for print and another for screen. I am still a work in progress.


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## annamaria (Jan 22, 2016)

Very very nice. I like this.


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## Photosensitive (Jan 26, 2016)

This has beauty...this is beauty


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