|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 41 |
Nov 18 |
Reply |
I agree that the rump is too jarring, something I really didn't notice before. Thanks! |
Nov 27th |
| 41 |
Nov 18 |
Reply |
Thanks Lisa. I actually had the background darker and thought it might be too dark, hence the lighter tones. |
Nov 27th |
| 41 |
Nov 18 |
Reply |
Thanks Henry!
|
Nov 27th |
| 41 |
Nov 18 |
Comment |
An interesting technique that I really haven't played with much so I'm encouraged to try it. The way you have placed the leaves around the face is very lifelike. I'm wondering if the eyes could come closer together. |
Nov 27th |
| 41 |
Nov 18 |
Comment |
Love this image, very well done. The catch lights in the eyes really make this image come alive. And the open windows really frame the subject well. Great job on blending the light! |
Nov 27th |
| 41 |
Nov 18 |
Comment |
Hi Henry, your image has a lovely whimsy feeling. I enjoy the background and the skewing of the nicely detailed vase. I like the flow of berries following the motion of the vase, but I feel the placement should be higher in the image allowing the berries to extend upward above the maple tree. The maple tree and the berries are at the same height and it feels a bit static to me.
|
Nov 24th |
| 41 |
Nov 18 |
Comment |
Hi Kathy, I love this idea. Great job blending the moon into the scene. My remarks center around having less balloons in the foreground, and using an odd number like five or seven total balloons of various sizes. However, with the photo you provided of the balloons, it looks like it may be hard to extract larger sizes. |
Nov 24th |
| 41 |
Nov 18 |
Comment |
Brad, this is a very humorous idea and nicely executed. Since all the action is happening in the bottom half of the image, I'm wondering if you really need so much sky and wave in the top half. Cropping down the top half might allow the human subjects to look larger and be more dominate in the image. Just a thought. |
Nov 24th |
5 comments - 3 replies for Group 41
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5 comments - 3 replies Total
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