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I think a lot of Movement. Eye movement takes the mind for a walk thru the image. Thats why horizontal lines are calm and peaceful. They are static. Vertical adds the drama and together swirls and arcs and loops with light and darks , a lot of fun can be had with the mind. Keelin you have the Golden Proportion thing going there! Adobe Lightroom has that overlay as well as the classic thirds and a couple of other variations that are all supposed to help in directing eye movement. I’ve been getting into the Golden Proportion overlay recently. Cropping to its parameters creates fun photographs…imho.
The Foto below was created before I started consciously using the Golden Proportion overlay. Yet it fits. I like to think of the shot and the way it was cropped as..
Cloud Flag.
Yes Hans, Lennies are a challenge to photograph. Getting focus is a matter of finding a sharp enough edge. I often keep the lennie at a distance,,abit less than full frame and focus on an edge at a mid point and with enough stop ( f22 or more(less) ) hope depth of field will cover . Often tho, on big or long Lenticulars..no depth of field will cover miles or kilometers. A wide angle zoom mite help if you can get close enough to a Lennie. Great depth of field.. I like to underexpose lennies also..The icy skin can show details when underexposed.
Here is a shot of Something I Found Swimming In My Sky
Keelin looks like your crab is about to get ate up. !!..I like the shot, its looks as if it was painted,,the Edges. Just enough greys to keep the black and white behaving themselves. Speakin about greys,,
A Windy Day
Hans ,Magritte is my favorite Surrealist painter. I estimate at least 75% of his paintings have cloud. The original Surrealists encouraged cloud watching because they believed, rightly so imho, the practice was good for developing the imagination . Magrittes classics ” False Mirror ” and ” Grand Family” rely heavily on Clouds as metaphor.
This shot has subtle vertical mist rising through the undulations like our thoughts escaping the mundane.
