Commons:Featured picture candidates/File:Adolfo Wildt (1868-1931) Carattere fiero-Anima gentile 3 (1912).jpg

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File:Adolfo Wildt (1868-1931) Carattere fiero-Anima gentile 3 (1912).jpg, not featured[edit]

Voting period is over. Please don't add any new votes.Voting period ends on 23 Nov 2018 at 19:25:05 (UTC)
Visit the nomination page to add or modify image notes.

  • Category: Commons:Featured pictures/Objects
  •  Info created by Paolobon140 - uploaded by Paolobon140 - nominated by Paolobon140 -- One of the masteripeces of sculptor Adolfo Wildt; yellowish tone is typical of Wildt's way to treat marble, I chose to divide the pic in 2 area, keeping the lower one as negative space; vignetting is natural, and given by illumination on the scenePaolobon140 (talk) 19:25, 14 November 2018 (UTC)[reply]
  •  Support -- Paolobon140 (talk) 19:25, 14 November 2018 (UTC)[reply]
  •  Question Do we really need all of the pedestal? It's dark and doesn't really add anything to the image. Daniel Case (talk) 05:17, 15 November 2018 (UTC)[reply]
  •  Comment Yes, in my opinion: the picture is evidently formed by 2 distinct parts: a bright golden one with the main subject at the top (eyes start looking at one object from the top, usually) and a black one at the bottom which creates a large negative space which emphasizes the top part by giving more strenghth to the sculpure and visibility. Tha lower part might even be seen as a kind of "bust" of the head, with shoulders and body. The sculpture itself is quite complicated to be framed becasue of its shape and this picture doesnt want to be a simple description of the sculpture, but wants to create a kind of atmosphere around the sculputure. No square composition was allowed here, so choice was one only. Vignetting and bottom black part area intended to focus atention on the sculpture. Paolobon140 (talk) 07:54, 15 November 2018 (UTC)[reply]
  •  Oppose A "heavy" compo, like something you'd see in a Batman or Marvel album, but such a compo needs to be flawless and the cut corner on the top is the pedestal really bugs me, even if you probably aren't responsible for how the sculpture was displayed. Also technical quality is not up to what might be expected from a static shot, lots of red CA, chromatic noise and a bit too short DoF. Camera settings might not have been optimal. --Cart (talk) 09:52, 15 November 2018 (UTC)[reply]
  • Thanks for your comment. I will not discuss about composition, that is the composition i chose becasue it was the one i liked the most and your taste is most respectful. Only thing id say is that the heavy composition fits the heavy expression of the face...For the quality i often have the sensation, here, that commenters are putting an over attention on the pixels. Digital photography produces large files which, when printed, become much smaller than the file itself. Many of the small details you can see at full size disappear in a normal format print. Just for information: one picture of the same set (different sculpure with different marble tones, same sculptor, but same camera settings, same place, same day and same hand of the photographer), is the cover of one quite good book by a well known editor. The editor didn't find any flaw in the file and printed it with a perfect result. When we had to print from films it was the opposite way and small flaws on the negative would look more evident in prints. A kind of photograph like this gives its best if printed at some 20x30 cm. Paolobon140 (talk) 11:34, 15 November 2018 (UTC)[reply]
  • Yes, we are much more fastidious here than most publication editors. If the technical level can be improved in post-processing or by re-shooting the photo, we would like it too be. We can overlook such things if the "wow" is so great that the situation/composition overrules the technical issues. Regarding the "heavy" compo, I never said that it was a negative thing, just commented on what kind of compo it was and as such I'd like it to be flawless for an FP. --Cart (talk) 12:06, 15 November 2018 (UTC)[reply]
  • Btw, googling "Carattere fiero-Anima gentile" I see that the marble is a bit yellowish, but not as much as in this photo. This saturation makes it look almost waxy and not like marble. --Cart (talk) 12:50, 15 November 2018 (UTC)[reply]

Yellow is much more stronger than you see in other pics; i think other pics are taken with those cameras that balance everything till it gets white. Wildt was famous for his yellow marbles, obtained by shining marble with urine and tobacco. This picture is very close to the original tone but the museum, in tht occasion, chose a yellowish illumination to enhance the golden tones of marble. I reproduced exactly what the human eye was seeing in that exposition. It was a choice by the light designer. In the book cover you will see a less yellow tone becasue that sculputure is less yellow itself and light was chosen whiter.Paolobon140 (talk) 13:50, 15 November 2018 (UTC)[reply]

Confirmed results:
Result: 2 support, 4 oppose, 1 neutral → not featured. /--A.Savin 23:56, 23 November 2018 (UTC)[reply]
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