Westchester Photographic Society
Exhibits -- Photographer Comments

Walter Kimmel
Hudson Valley Hospital, 4/05 - 7/05
I discovered this magnificently gothic tree at the Lyndhurst Estate, just off Rte 9 in Tarrytown, New York.  To capture its image, I used a Canon EOS D60, with a wide-angle (16-35mm) lens.  Somehow, it really didn't seem to convey its meaning to me either in color or in straight black and white, but in my mind's eye the homebrew sepia tone I devised really caught the mood of the tree. I hope it does the same for you. I think most people will understand immediately why I named it "Dance Macabre."
Dick Budnik
Grand Central Nap

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Dick Budnik Website

On a visit to the city, upon entering Grand Central Station from the train platform, I looked up at the newly repainted ceiling to see hanging a large American flag. It was impressive enough to entice me to capture the essence of the scene, but lighting conditions were too extreme for ordinary photography. Bright sunlight was streaming through the windows into the darkly lit ground level of the terminal. I instinctively knew the image, if represented "straight," would require considerable work to evoke the proper mood. Nevertheless, I captured the moment and moved on to an upper level of the terminal where I found a troop of Boy Scouts waiting for their train. One scout lay fast asleep reclining in a comfortable chair as hundreds of travelers walked by in a continuous stream. I immediately thought of moving him to my image of the terminal.

Back at the computer, I added the sleeping scout to my original image. But still, the terrible lighting from the windows overwhelmed the image. To block out some of the overexposed windows, I added an entirely new inside corner to the stone pillars, creating a new alcove. I, then added an extra circular ticket booth in the right foreground to balance the sleeping Boy Scout. To add a final touch of surrealism, I reversed the hands on the clock without reversing the text on the signs in the booth. The image requires close study to detect all my alterations. However, I think, in the end, by altering the visual experience one obtains from the picture, I captured the feeling many travelers experience as they pass through the hustle of Grand Central Station.

René Buragas

Tiger going for a swim
Exhib: JCC 2004

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Some photographers have asked me whether the image of the Tiger -- in particular, its reflection -- was constructed using an image manipulation program such as Photoshop. The fact is that the reflection and the tiger entering the water are real. The reflection was revealed out of the predominate glare in the water with the use of a polarizing filter. Fill-flash, set at 1 and 2/3 stop below exposure level was used to bring out the highlight in the eyes.

The trick in this pictures was getting the tiger to look straight into my camera. It was taken at the zoo in Philadelphia where I spent most of this hot, humid day watching this beautiful animal, waiting for appropriate moments in which to catch an appealing portrait. Unexpectedly, the tiger suddenly jumped into the water to cool off. To catch this moment I got down as low as the barrier allowed and whistled loud to get the tiger's attention. Luckily, he glanced at me just for a fraction of a second -- just enough time for me to grab just one revealing shot. Other images taken when the tiger was in the water were less interesting because there was no eye contact.

The photograph was exposed with a Nikon F5 camera using Kodak E100G, pushed to ISO 200. The camera was set to manual mode with the exposure set to f/8 at 1/250th. Because the camera was tripod-mounted, the Vibration Reduction feature of the 80-400 mm lens was turned off. That hot, humid and overcast day, the light was very bright and sufficiently flat for the polarizer to work its magic. Luckily, the light didn't change for several hours. The printed image was created from a scan of the original 35mm slide. The scanner, a Nikon Super Coolscan 4000 ED, was set to 4000 ppi, which produces a 65 megabyte file.



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Posted by Robert A. Baron
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