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| Group |
Round |
C/R |
Comment |
Date |
Image |
| 40 |
May 19 |
Reply |
Thank you, Catherine!
If you look at last months picture, was my first attempt at this kind of thing, didn't work so well... I'm learning.
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May 29th |
| 40 |
May 19 |
Reply |
Andrew, I do like your suggestions, especially the letterbox crop. I think that could lead to a more abstract look that highlight the abstract strength of the picture.
I myself have not had the nerve to submit pictures to contests. Everything I hear makes it sound like they are awful experiences. I much prefer this format of collegial feedback, encouragement, and inspiration. This is a great group! |
May 26th |
| 40 |
May 19 |
Reply |
Henry, in response to your comment about spot healing brush, yes, I discovered when I made my sequence picture that spot healing brush in PS 2019 is an amazing thing! |
May 26th |
| 40 |
May 19 |
Comment |
Henry, I'm inspired to try a picture like this sometime. I don't know when I will get to Malaga next, but there is a lovely roof restaurant with a 360 view of the city from the top. If I could go back there and try something like this, I would.
There are places with rooftop views like this in NYC, where I also go sometimes, but not too many around here, in South Florida, where I live. Still, it's now on my "photography bucket list." Thanks for the inspiration!
I'm attaching a panorama I took from that rooftop in Malaga in 2015. You can see it's a good location for your effect, though my picture doesn't do much. Rooftop of the Hotel Malaga Palacio. |
May 26th |
 |
| 40 |
May 19 |
Reply |
Hi Andrew,
Yes, I did experiment with taking out the figures after the "basket" figure (so, the two figures to the right). However I felt that left too much of a gap in the middle.
The figures are in order. He throws the ball, the ball makes the basket, it comes back to the ground, and picks it up again.I have considered taking out the figure that is second to the right, where he's just watching the ball come back to the ground, but I really liked the contemplative expression on his face. Still, it might work better without it. |
May 26th |
| 40 |
May 19 |
Reply |
For me the abstract quality of flower without stalk, almost abstract, was the point of the picture. I do appreciate the increased clarity on the flower itself.
|
May 14th |
| 40 |
May 19 |
Reply |
Henry, I did think of that, of just showing the first three figures from left, and stopping with the ball through the basket. But then it seemed like it left a big empty space in the middle, and also left out the end of the story - the ball goes in the basket, but then it's on the court again and you have to start over.
Prahkhar, yes, I will look at lightening his face. It means lightening on each of the five figures, then re-blending them again. Not sure I'm up for all that... but I'll see what I can do. The challenge then becomes getting them all to match. |
May 14th |
| 40 |
May 19 |
Reply |
I live in S. Florida, Fort Lauderdale area. |
May 14th |
| 40 |
May 19 |
Reply |
No, no, original was better!!! Even with wires!
|
May 14th |
| 40 |
May 19 |
Reply |
Wow, Henry I didn't know that was possible. I assumed there were too many wires, too delicate, to really get rid of them... my hat is off to you! |
May 13th |
| 40 |
May 19 |
Comment |
I wish your studio was closer. One of my kids wants headshots, I have yet to find a studio that works as carefully as you do.
|
May 13th |
| 40 |
May 19 |
Reply |
Thanks so much for the kind words, Bob!
|
May 13th |
| 40 |
May 19 |
Reply |
Yes, I agree about the white.
|
May 13th |
| 40 |
May 19 |
Reply |
Hi Prakhar, I misunderstood, I thought it was solely long exposure and not also HDR.
Since I haven't tried HDR myself my contributions to the conversation are not worth much.
What I was saying was I wanted to see what you combined, to understand the method. But I can look into it myself. I'll be traveling later in the summer and I hope to get a chance to take some landscapes and try this technique. Thanks for the beautiful image. |
May 13th |
| 40 |
May 19 |
Reply |
My vote is to keep the figures in. At least the woman. To me the picture is about the exchange between the older driver and her.
You could erase the bits of child that show as they are distracting to someone who studies the picture carefully.If erasing the child is too much work you could crop the right a little, to crop out the evidence of the child screen right, and then just erase the toe.
If you did that I might crop screen left a little too, so that the frame reaches the shoulder of the driver in blue jacket, which then might mean, to keep the lines clean, erasing the writing on the engine screen left. These small changes might heighten the drama of the exchange. |
May 12th |
| 40 |
May 19 |
Reply |
Prakhar, if you took multiple exposures I would love to see you try what Bob recommends above, just to see how it would work. |
May 12th |
| 40 |
May 19 |
Comment |
I love the idea of this, the idea of taking pictures of a well-known place to show other aspects. I think the post work you did paid off, especially lightening and brightening the white city below the guardrail.
The only thing I would have done differently, if possible, is try to pick a portion of the city that had a well-known landmark, like Sacre Coeur or the Eiffel Tower, so we know from looking at the image that it is Paris, without need of reading the title. I know that might not have been possible.I would love to see you do more of these in different cities. Lovely idea and evocative final image. |
May 12th |
| 40 |
May 19 |
Comment |
Wow, I love this. I want to try something like this. I recently bought a very cheap green screen set up, but it seems like now with PS masking abilities there is no need for greenscreen? Would you say that's correct?
So looking at your image, my first question is, is the street background real, or did you create it?
I can see you added some objects on the floor.
Also looks like you dodged and burned some areas behind him to give it more depth.You brought up the light on his face and hair a little, and grundged up his jacket (how did you do that, with some kind of filter?). Love the final result. Did he get the part?
|
May 12th |
| 40 |
May 19 |
Comment |
Hey Bob, I'm so sad you are missing this month, I'd love to see one of those drone train images! |
May 11th |
| 40 |
May 19 |
Comment |
Do you mean this one? (I'm not from the UK, so I don't know which poster you are referring to). |
May 9th |
 |
| 40 |
May 19 |
Comment |
A beautiful beautiful shot. Very sad story!
The textures in the image are fantastic. The clouds looks so great, at first I thought you'd done an HDR.Love the lacy texture of the falls themselves.
|
May 9th |
| 40 |
May 19 |
Comment |
I was looking at the picture some more and I only know realize that there is someone (a child?) standing next to the woman, and that the woman and the engine driver with the cigarette might be a couple.
|
May 5th |
| 40 |
May 19 |
Comment |
One thing I forgot to mention above, the video calls for smoothing out the overlapping figures with a brush in Photoshop. I have never found that to work. Last time I did it I used the history brush, and this time I simply used the eraser. The trick is making sure you are in the right layer. |
May 4th |
| 40 |
May 19 |
Comment |
The greatest pleasure I get from this picture is the wealth of textures. The metallic surfaces of the engine, the steam, the brick walk, the woman's hair.
The composition works in a special way: the two men, who seems almost like doppelgangers of each other, look at the woman, who holds a bag with a symbol on it which is almost a double of the symbol on the sign. This composition makes the eye travel from men to the woman and the purse and the sign makes our eye go back across to the engine and back up to the men. (An effect I've always wanted to achieve but haven't yet).
The sky is very white. It didn't bother me until I read your text.
I still haven't tried the technique of adjusting a luminosity curve, but if there is some texture to be found in that sky that might be the way to reveal it.
Finally, I know that the reds are very red, but I think if they popped just a little bit more that would add interest.Same for the blues.
It is a fine picture just the way it is, but those might be things to try if you want to improve it even more. |
May 4th |
| 40 |
May 19 |
Comment |
I remember this from your spotlight. The flower is incredible. The drops of water on the petal, and the purple tips are all amazing.It looks like you did your reflector trick again, you already know that I love that trick and have started using it myself.
Like some of your other images (I haven't been around that long, so maybe last two?) the flower seems a little soft. Again, I'm really new at this so I don't know exactly what would cause that. My first thought is that your lens might need recalibrating (we had a guy at our foto club talking about that). I'm not sure what else would cause that effect. Do you have an original? (Before you manipulated to get that perfect velvety black background). Maybe the place to start would be to compare the original to your final. Manipulation does lead to softness. Its soft but not out of focus, if that makes sense. |
May 3rd |
11 comments - 14 replies for Group 40
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11 comments - 14 replies Total
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