Becoming one with the waterfall

[mazzachre]

Exif data:
Camera: Olympus E-P1
Lens: OLYMPUS M.14-42mm F3.5-5.6
Aperture: 3.5
Focal length (35mm): 28mm
Shutter: 1/125s
ISO: 200
PP:
Cropped slightly to remove visual clutter, converted to B&W in multiple layers to enhance monk, burned and dodged slightly darkened water and lightened rock around fall to give texture, added slight noise (Hardly visible in web size).



General critique wanted. Do you like the image? What would you do differently? (Not like I can retake it any time soon if ever again)

[ishafizan]

i'd use a slower shutter speed, to to blur everything but enough to capture the water flow ... could give more impact to the scene, more 'zen' with nature.

[Krusty79]

I like ishafizan's idea because that would make the water look more peaceful and harmonic. Right now, the water looks noisy and powerful and it competes for my attention with the monk.

[Michael_2010]

I get a little bored with the silky smooth water and like the natural look of this waterfall. However, when a scene like this does present itself, it wouldn't hurt to get several different exposures. Like you said, the chances of you getting this opportunity again are pretty slim, so work it good while you've got it in front of you.

[Photologyst]

I like the photo. Perhaps a closer crop?

I would have taken it from a lower angle to emphasize the power of the rocks and the waterfall as opposed to the frailty and vulnerability of the monk.

I’m with Michael, I really find those smooth/rushing water photos incongruous.

[LeeR]

May I answer your question with a question of my own: What exactly were you trying to convey with this image? If I understood that I may be able to suggest ways that you could have done to make your statement with a bit more eloquence.

[mazzachre]

I am trying to photograph the contrast, silent monk meditating near the noisy waterfall, as he is a novice at a rather old age, perhaps he needs the noise to block out the noise in his own head, but generally the contrasts were my idea here, in the original picture I had included more (As I usually do, but am considering more and more to not fall into that put) So primary, Silent monk vs. noisy water and secondary the hard rock and the fragile human, and then tertiary, nothing to do with contrast, monk trying to become one with the spectacular nature around him, yet still standing out.

The original, that didn't work that well had more of the nature around him in it. More plants and even some sky, after working with the picture I found that these elements took away from, rather than give to the primary focus and just cluttering up the image.

[Krusty79]

I know you can't go back and reshoot this, but I think the fact that the monk is looking at the waterfall and is not meditating is working against the "silent monk meditating" feel for this shot, at least for me.

Maybe Lee has an alternate suggestion to reach your goal.

[SwissJon]

I don't know about you Krusty, but I imagine meditation to be a reflection of your place in the world. So for me, looking at the waterfall is perfectly harmonious with deep reflection.. The water rushing past would be hypnotising as opposed to being a distraction.

I think this might have been one of the occasions when a longer exposure would have been more appropriate, as it would visually correspond to what I imagine the monk sees while meditating and watching the waterfall.. A rushing past of the world while he's calm and still inside, rather than the need to freeze frame to capture the moment before it passes. For me the picture is rather a let down in this aspect.

I do like the overall composition though, just wish you'd used a longer exposure.

[LeeR]

Let me first say that this image is technically well done. Not perfect, but not bad either. What I see that it lacks is compositional elements that would help you make your point with a bit more emphasis. For instance, there is a strong diagonal element that runs along the rock edge from lower left up to where it meets the waterfall. These kinds of lines often barely register when we are shooting but become critical in the final image; not only where they are but where and how they are broken. You could have emphasized the role of the monk and his relationship to the waterfall if his body had interrupted that line. Imagine, if you can, the monk on the left of the frame nearly filling that side with the angle going behind him to the waterfall. You could have, at least theoretically, done this by lowering the camera position. In actuality this may not have been possible, but I want you to see how using that line so that it goes behind the monk and the waterfall would have tied the two together. Does that make sense?