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Manipulations by Hammers

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hammers said:
Propitiatory human sacrifices to Hades for the souls of the dead warriors.jpg
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This is a challenging background, presenting a mixture of natural light and bright yellow flames. We are seeing close attention to scale and lighting on the inserted figures, and generally convincing values of colour, saturation and contrast. The scene has evidently been developed to cater for funerals and executions simultaneously. Nice work, Hammers! :)
 
bobinder said:
This is a challenging background, presenting a mixture of natural light and bright yellow flames. We are seeing close attention to scale and lighting on the inserted figures, and generally convincing values of colour, saturation and contrast. The scene has evidently been developed to cater for funerals and executions simultaneously. Nice work, Hammers! :)
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I think that no better words than yours can be used to render a lively image of the illustrated events associated to an accurate description of details.
A big thank you!!
 
hammers said:
Delights of the arena.jpg
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hammers nh dep2tp9-a0f0751e-7386-4269-a0fe-b9dfa6ed9db0.jpg​

Your original thumbnail for 'Delights of the arena' fails to open, due to problems with recent site maintenance. I shall repost it and the picture can be opened from here.

This is a clever adaptation of the painting by Sir Lawrence Alma-Tadema, substituting a different form of 'dancing' in the arena. Looking closely, I can count five inserted crux figures in the middle distance, starting in the lower left corner and moving towards the centre of the picture. Even as the main attraction, they are somewhat overwhelmed by the figures and colourful details of the painting. Nevertheless, seeking out the new figures makes for an interesting viewing experience.

hammers said:
hurry up! we haven't got all day to crucify you.jpg't got all day to crucify you.jpg
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Your latest picture contains inserted crux figures which are equally small and distant, but this time, they are framed by the doorway. The original figures direct our attention to the scene outside, and the visual impact is quite effective. I see that you have undertaken some considerable repainting to delete two of the original figures from the area of the steps.
Nice work, Hammers! :)
 
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bobinder said:

Your original thumbnail for 'Delights of the arena' fails to open, due to problems with recent site maintenance. I shall repost it and the picture can be opened from here.

This is a clever adaptation of the painting by Sir Lawrence Alma-Tadema, substituting a different form of 'dancing' in the arena. Looking closely, I can count five inserted crux figures in the middle distance, starting in the lower left corner and moving towards the centre of the picture. Even as the main attraction, they are somewhat overwhelmed by the figures and colourful details of the painting. Nevertheless, seeking out the new figures makes for an interesting viewing experience.


Your latest picture contains inserted crux figures which are equally small and distant, but this time, they are framed by the doorway. The original figures direct our attention to the scene outside, and the visual impact is quite effective. I see that you have undertaken some considerable repainting to delete two of the original figures from the area of the steps.
Nice work, Hammers! :)
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Concerning "Delights of the arena" I was doubtful about its feasibility, but I decided to try for the best.
As for my latest work, it presented the same difficulties of a restricted space available for insertion of crux figures.
I have taken good note of your comments that ultimately make me think that the two works are acceptable. Thank you.
 
hammers said:
Inquisition at work.jpg
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I have not yet attempted a BATS manip, and so my comments are not based on experience. Nocturnal scenes present great drama, due to the contrast of brilliant flames against a dark background. The flames are the light source, and they define the inserted figure with reflected light. And so, your 'Inquisition at work' image is relatively successful in terms of the lighting conditions.

Rarely do we see the inserted figure illuminated from beneath by the most intense part of the fire, and all too often, the original overhead daylight still casts shadows below the chin, breasts and knees. These require numerous sympathetic adjustments in order to replace the shadows with highlights and vice versa. But your figure does have bright reflections on her throat and on the side of her body closest to the leaping flames, and so your treatment appears generally convincing in terms of a BATS illusion. Nice work, Hammers! :)
 
hammers said:
A busy day for executioners.jpg
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'A Busy Day For Executioners' presents a distant view of seven crucifixions in a broad vista. The arid landscape evokes some oppressively hot conditions, and the overhead sunlight beats down on the inserted crux figures, casting dense shadows on their nude forms. Figure scale, colour and lighting are consistent within the scene. The crosses are planted in locations where the ground conceals their shadows, and the result is a widespread mass execution.

Whilst this increases the isolation of the individual figures, and reduces the possibility of communication, the arrangement is harder to supervise for the three sentries than if the crosses were grouped closer together. The distant figures appear very small, and some of them are merging into the background - the fifth from the right is quite difficult to discern against the sandy terrain.

The empty foreground seems to present a missed opportunity. I would be tempted to erect two or three crosses in this area, and take advantage of the chance to use larger figures. But as it stands, your picture provides a sense of distance between the action and the viewer, as if this is an awesome spectacle which we dare not approach, but we nevertheless feel compelled to observe. Nice work, Hammers! :)
 
bobinder said:
'A Busy Day For Executioners' presents a distant view of seven crucifixions in a broad vista. The arid landscape evokes some oppressively hot conditions, and the overhead sunlight beats down on the inserted crux figures, casting dense shadows on their nude forms. Figure scale, colour and lighting are consistent within the scene. The crosses are planted in locations where the ground conceals their shadows, and the result is a widespread mass execution.

Whilst this increases the isolation of the individual figures, and reduces the possibility of communication, the arrangement is harder to supervise for the three sentries than if the crosses were grouped closer together. The distant figures appear very small, and some of them are merging into the background - the fifth from the right is quite difficult to discern against the sandy terrain.

The empty foreground seems to present a missed opportunity. I would be tempted to erect two or three crosses in this area, and take advantage of the chance to use larger figures. But as it stands, your picture provides a sense of distance between the action and the viewer, as if this is an awesome spectacle which we dare not approach, but we nevertheless feel compelled to observe. Nice work, Hammers! :)
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Thank you Bobinder. As you correctly pointed out dinstance and sense of isolation are the main characteristics of the scene. I am of the advise that the barren empty foreground and separation between figures enhances these sensations.
 
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