|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 32 |
Dec 19 |
Comment |
Hello, Gloria. Stopping by from both Group-87 and Group-83.
The spontaneity of capturing the photo shows your ability to compose 'on the run' as it were, and I love the subjects pose. (His tilted head leads toward the up-curve of the conduit to the right) and adds to balance the frame.
An alternative Thought:
Though a striking image in a digital sense, I would have liked to see the unedited color version. Both the color and BW versions posted have a cartoon aesthetic which (in some instances) serve well for the commercial industry.
This example of a vernacular image can also (and maybe, more reasonably) be interpreted "as" captured: still one can play with Contrast, and Dodge and Burning, perhaps bringing "drama" to the scene - the same technique Ansel Adams is know for in most of his later work. "Food for thought".
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Dec 17th |
1 comment - 0 replies for Group 32
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| 83 |
Dec 19 |
Reply |
Hi Jane. Appreciate your kind words.
A 3 inch snow fall blanketed the limbs. Yes, I can see where the top-left corner may be distracting...thank you! :) |
Dec 20th |
| 83 |
Dec 19 |
Reply |
Georgianne, we are not taking post-production away from the creativity of photography - we are just in need of re-defining what constitutes excessive manipulation: not much different from the same questions which illuminated a similar course of discussion at the latter part of the 19th Century, as the Pictorial movement was steaming ahead at great velocity.
But I appreciate your stance, and hope we can continue to share ideas/concepts going forward.
Also, I will continue to balance the conversation with alternative concepts, as inserts to broaden the scope of thought (concepts, tricks, for both the camera and post-production) to enrich all of us. Thank you, Georgianne, everyone.
|
Dec 20th |
| 83 |
Dec 19 |
Reply |
Indeed, a good thought: Yes, I may look into this later in the new year. :) |
Dec 20th |
| 83 |
Dec 19 |
Reply |
And one last word on Presets: In its self, I have no issues in promoting digital-art based photography, as long as an equal emphasis is attributed to traditional photographic virtues, and additionally, the two genres be categorized separately when applicable.
It is not my intention to make one feel it is "Cheating" - my strong suggestions are only to equalize, as Jane states,,,,'nowadays to photographers it's so popular'. Meaning, there is a heavy bias towards learning and applying "Extreme" post-production digital "Constructs" as opposed to a more rigorous application to make similar results via tradition camera dynamics, and in conjunction with using the weather or other environmental attributes, in creating fine art photography.
On the other hand, if you rather use Presets and other more e extreme digital tools (i.e. composites)....then the work needs to be presented as such....that is...a piece more of Digital Art, rather than photography.
We (the art world) must begin to consistently separate the two Genres - as it is already being done on many online and local photography competitions, for example. It is a process I began at the Gilmer Arts Gallery and Playhouse as curator of our first National Photography Exhibition, where we had incredible amount of positive response from both the participating artists and patrons of the art...the viewer.
I want to share, and most definitely illuminate, Traditional Photography virtues in an ever expanding world of digital manipulation. As an equalizer, before the very essence of photography, as a pure-art-genre (invented around 1840) becomes distorted and "merged" into another art form, that of Digital Art.
Please, take my suggestions as a "Balance" and not of disrespect to Digital Art - in another example, a recent Digital Art (photography) exhibition at the Booth Western Museum co-curated by the Booth Photography Guild (I am a member) was Amazing! It was an experiment by the Museum to exhibit and "Categorize" the work as Digital Art, before photography....an important distinction and one that clearly placed the work in its proper Art Genre.
Really appreciate all your work, critiques, and most defiantly your wide scope of skills - lets continue learning from each other.
Lance :) |
Dec 20th |
| 83 |
Dec 19 |
Reply |
Additional Thoughts:
Yes, the Black Background is the deciding factor in creating this compositions appeal. In many instances (not all) some type of dramatic-essential is needed to bring the otherwise banality of the subject more excitement - or what Roland Barthes refers to as the thing that "pricks" the viewer to looking at the photograph with great interest. The "Blackness" in this specific composition is the catalyst that "pricks" me. |
Dec 19th |
| 83 |
Dec 19 |
Reply |
Thank you, and understand your point of views. :) |
Dec 18th |
| 83 |
Dec 19 |
Reply |
Presets:
Alternatively, studying the master of the 19th Century and early 20th Century are prime learning experiences and without doubt, offer the most pure and direct way to learn about the specific visual aesthetic common (prevalent) of the time. Presets are leapfrogging the user (photographer) to a visual aesthetic rather than acquired through careful study and choice within a wide range of camera and environmental dynamics.
The Painter studies many different artists from the past 500 years to develop personal style, they are not offered to him or her in any other form or fashion. Then, they learn to "apply" these aesthetics onto their canvas.
I do however like the exercise of trying to capture a portrait with a long exposure - a worthwhile endeavor, indeed. |
Dec 18th |
| 83 |
Dec 19 |
Reply |
A Word About Critiquing:
Indeed, each artist (and patrons of the art) have individual reactions to visual imagery that move them a certain way.
In these critique groups (or other local or online critique groups) we are interested in helping "define" an interpretation and/or narrative. As such, photographic or digital variants attributed or applied respectively, to a scene (to the image file) can result in changes in a definition.
The Artist should adhere to their narrative/interpretation regardless of feedback with or against the exhibited piece. In this arrangement the viewers of the exhibited work see other interpretations/narratives and the Consequence of those changes: a traditional Fine Art interpretation can quickly morph to a Commercial one, or at least leave the viewer feeling a mixed vibe, for example.
The other Dynamic these types critique settings allow, is the techniques used to make these post-production alterations: some highly "digital" as in Composite-type work, and more traditional photographic practices: each of these tools can heavily sway an interpretation from an authentic interpretation to one that is more "Digital Art" in nature, indeed.
I feel this group offers a wide scope of talents, and thus the range of interpretations we all enjoy and learn from is very exciting!
My personal advocacy is to strengthen the "Art of Photography" by presenting the tools of both genres on an equal stage: "In its self, I have no issues in promoting digital-art based photography, as long as an equal emphasis is attributed to traditional photographic values, and additionally, the two genres be categorized separately when applicable". LAL
Thank you and Happy Holidays!
|
Dec 18th |
| 83 |
Dec 19 |
Reply |
Georgianne, it is (Not) always necessary to capture two images: it just takes hard work and planning as a photographer. The darker the location (and depending upon the subject) difficultly can range from easy to very hard, indeed.
Its all about planning, and NOT thinking ahead to post-production: here, with an assistant, shooting at ISO-100 for example, a timed (or Bulb)exposure of the entire scene (plus) an assistant (for larger area/subject compositions) can paint using a Flash. Of course, capturing the "stare studded" sky is all the rage, and much harder to accomplish, but doable with a 35mm format system. (Its all about the environment and subject at time of capture that dictates the starting point).
Thank you. :)
|
Dec 17th |
| 83 |
Dec 19 |
Reply |
Hi Georgianne. Of course in this interpretation you are bringing the table back into play - as apposed to hiding it.
While both images are projected on my monitor, (and very attractive, indeed) the exceptional "quiet" vibe of the original is lost, in my opinion. I did not get the feeling from before...this version is "louder" and thus moves toward a commercial musical tone, rather than an aesthetic of subtlety. The results mirror the color version. |
Dec 17th |
| 83 |
Dec 19 |
Comment |
A Word On Presets: In my opinion, it is one of those modern day (digital trickery) that takes the 'power of the photographer away from the camera' and instead is a step toward the "digital arts". In this case, the photographer (the user) is "Creating" from behind the monitor, instead of from behind the glass.
In itself, this is OK, as each has their own prescription as how to create an artistic image, however, in these instances the artist must realize there is a "melting" of the lines between digital art, and photography.
This is a serious and deep discourse I push all of us to engage throughout the year. :) Thank you, guys! |
Dec 15th |
| 83 |
Dec 19 |
Reply |
Judy, that is a very perceptive observation. As such, I can try Dodging a bit more, to (evade) the 3-D'ish sense that branch may impose on some viewers. |
Dec 15th |
| 83 |
Dec 19 |
Reply |
Yes, indeed we will. I will post something later next week. |
Dec 15th |
| 83 |
Dec 19 |
Reply |
Georgianne,
True, one caveat of using high ISO settings (in digital format photography) is the Noise in both shadow and color aspects: 1. while still in color, in PSCC Camera RAW,very powerful tools that deals with Noise fairly well, thus converting to BW will be well received. 2. Being sure to capture the scene with as much light as possible (what digital photographers refer to "keeping the Histogram to the right" will also help cover or minimize Noise. Using a Tripod is really key in capturing ALL types of landscape photos, and helps eliminate any shake that would otherwise ADD to an already Noisy layer.
I hope you go out and experiment - its a lot of fun. :) |
Dec 7th |
| 83 |
Dec 19 |
Comment |
Hey, Judy - this is lovely! The seemingly floating light-strings adds an Abstract twist, to this Christmas scene.
Would like to see more of this type of "out of the box" tinkering with a similar subject, lighting, all of it! Love it. Well done! |
Dec 6th |
| 83 |
Dec 19 |
Comment |
Lovely Studio Portrait, Jose! Love it!!
Wish you would share lighting details, as I am currently a student in Studio Lighting the past 4 weeks.
I am only critical of the item the sitter is on: either PS it out, or crop the photo, but that would eliminate the models arms: I know, go back into the studio and take additional frames. Happy Holiday's Jose!
|
Dec 6th |
| 83 |
Dec 19 |
Comment |
Hey, Georgianne.
On its own, (and referring to only a BW version of course) the composition is successful. As you know, I would have tried to emphasize the scene only through modifying (manipulating) luminosity (overall exposure-brightness) and contrast - trying both slight and very "hard" contrast.
Also, before the shoot, I would have chose both the ISO400 and a very high ISO (depending upon your camera and its onboard CPU-processor) to create natural grain (or electrical noise) in creating a bit more texture.
I really like the actual composition/scene, so applied one of my edits: though not as "creative" as yours, I am offering an alternative (less edited) version, that is reminiscent of traditional dark room alterations: adjusting color photo, including Dodging the Barn; Color Efex-Pro4 added custom ND filter. BW includes (lowering structure), yes, lowering, and applying an Orange filter. Adding slight Vignetting and a frame, that looks just like the edge of film.
If shot with a High ISO, a lot more grain (noise) would have been closer to your digital creation above. Alternative Points to Ponder. Thank you, Georgianne. |
Dec 6th |
 |
| 83 |
Dec 19 |
Comment |
Hello, Dirk. I am requesting more information on this very attractive composition: at first glance I thought the white specs were blurred snow flakes created by a slow shutter speed, but careful inspection reveals this can not be, as they are not covering the whole scene (unless you manipulated them out, or added a "layer" as part of the design).
In any case, the blurred stars or flakes cast a very unusual dimension because being juxtapose against the very "crystal-clear" lighthouse and accompanying structures, draws me too conclude the lighthouse and supporting houses are miniatures! LOL!
Bottom line - very interesting, calming and peaceful imagery that is definitely in the holiday Spirit! Nice work! |
Dec 6th |
| 83 |
Dec 19 |
Comment |
Hi Jane. Yeah, very lovely, holiday inspiring image....
I feel the "Hearts" are heart-shaped lights that are out of focus as a consequence of shallow Dof...yes? Only comment I have - perhaps try to black-out a bit more of the edge of the table (severe left side) (or whatever the fabric is laying across) otherwise the fabric texture is fine and in my opinion, does not distract from the composition.
"Holiday music would make a fine Christmas card or other commercial use, indeed. Well done, Jane.
I can almost feel the texture of the violin, while listening to chamber music and sipping Cognac. Thank you for this visual pleasure. :) |
Dec 6th |
| 83 |
Dec 19 |
Reply |
Hi Jose. Agree - a bit too much Dodging there. Appreciate the comment and happy you like the composition. :) |
Dec 5th |
6 comments - 14 replies for Group 83
|
| 87 |
Dec 19 |
Reply |
Hi Mark! Thank you....yes, maybe a bit calmer would be perfect. :) |
Dec 24th |
| 87 |
Dec 19 |
Reply |
Hi Graham....once at the website - in the upper right Click on the
'Search icon' and type my full name. Otherwise you will need to search through all the articles.
That said, there are several well written and interesting articles I suggest we can all learn from or at least inspire our creativity.
Enjoy. :) |
Dec 22nd |
| 87 |
Dec 19 |
Reply |
Don King! Exactly! (Met him once in the late 70's). |
Dec 22nd |
| 87 |
Dec 19 |
Comment |
As most of you know, all types of work is welcomed and encouraged!!
As it relates to me - I will tend to offer alternative tools/concepts/skill-sets mostly practiced before the main impact of the digital photography revolution took a strong hold: it is my belief many students of photography are not getting ALL that needs to be learned - and instead are being directed straight to digital manipulation for almost all their creativity. I see this everyday at the local clubs I am associated with. It is all about getting the Whole Picture - yes, pun intended! :)
However, these PSA Critique Groups are wonderful platforms for all of us to learn new ideas, including old ideas, as it were. So far, I have not had anyone in any PSA sanctioned group, who did not enjoy learning (or re-learning) some of the Traditional Skill-sets that characterize this art medium.
When you have time, read the first three articles published at PHOTOPXL.com - I hope you get something out of them - and of course would love your feedback. Reach out to me via email.
Thanks, guys! :)
lance.visualizingart@gmail.com |
Dec 6th |
| 87 |
Dec 19 |
Reply |
Oh, Roger that! Sorry! :) |
Dec 6th |
| 87 |
Dec 19 |
Comment |
Hi Mike! Creative and colorful evening rendering for sure!
I too, like the extra "Dodging" of the bow. |
Dec 6th |
| 87 |
Dec 19 |
Comment |
Hi Ahmed - really enjoying this engaging composition: from the subjects, relatively focused head, to the slow deterioration of details in the lower half (a cause through lens bokeh) is very creative in this particular shot. (I will add, this is also a known and sort after visual dynamic most 100mm Macro lenses offer, it is used very well here, indeed). Blacking out the background is the final touch that brings mystery, as well as, maybe fascination, to the photograph.
However, I still must be critical the eyes were not in better focus; this said, and imagining viewing this as a 24x16 print from at least from 7 feet, (as done with most photographs produced via film-stock) still offers a "keeper"in my book. Lovely creation, Ahmed. |
Dec 6th |
| 87 |
Dec 19 |
Reply |
Hi Mike - the Steven's original is posted at top of page. :) |
Dec 6th |
| 87 |
Dec 19 |
Reply |
Fellow, Brooklyn-nite - I lived in East NY as a child. I rarely bump into people from Brooklyn. :) |
Dec 6th |
| 87 |
Dec 19 |
Comment |
Steven, what a refreshing scene - hope someday to visit this spot.
In my opinion, Steven, you have eliminated details that define this location - and this very spot. My first question, did you not have the option to move your position so the Moon would be to one side or the other of the lighthouse? If not, then I suggest with a similar crop (but not as tight) as yours and leaving all the peripheral objects I claim define the "real" scene and make it so appealing. (See my version).
Post-Production: including extensive dodging of lighthouse and also adjusting chromatic intensities and overall luminosity. The resulting image retains the "soul" of this particular spot, at this beautiful time of day you were able to capture. (Cant seem to get the image to show larger) |
Dec 5th |
 |
| 87 |
Dec 19 |
Comment |
Jennifer, engaging composition. I would enjoy viewing this under a 4000k spotlight.
Your attempt in capturing a sense of "place" (by creating "space" around the subject) is correct. I just wrote and published an article on this concept at PHOTOPXL.com.
You need to clean up the dust speck (or whatever it is) near bottom of photo - easy fix with Clone-tool (to maintain the exact color-texture).
As Steven suggested, I may like this as a BW rendering (and of course, BW is my first love in photography), but I would leave the present view and not crop, which, in my opinion, would severely diminish the sense of place. |
Dec 5th |
| 87 |
Dec 19 |
Reply |
Steven, Allow me to suggest, in this composition - taking in the entire image is a valid option: it is a snap shot of Christmas in NYC and I roam across the entire scene.
However, alternatively, see my suggested 16x30 crop, which isolates and highlights just the decorations. Perfect crop for commercial use, for example. |
Dec 5th |
| 87 |
Dec 19 |
Comment |
Hi Graham.
Nothing like experiencing Christmas Holiday in NYC. A very festive image. Thank you for sharing. However, see my alternative 16x30 crop isolating the decorations. Also, perhaps some dodging of the large, left-side Ball would complete the package. :) |
Dec 5th |
 |
| 87 |
Dec 19 |
Reply |
Steven, this is a Macro lens, as such it highly magnifies the object - in any case, depending upon the size of the subject, anywhere between a 12" and 2" is the working range.
My wife works very close to her underwater subjects with a similar lens: 1" to 2". |
Dec 5th |
| 87 |
Dec 19 |
Comment |
Hi Steven. Interesting fellow, indeed. Appreciate your comments. An alternative version could be a very close shot, and there a million of those - here I wanted this very symmetrical view - the background was important in providing a sense of "place". I found the composition comical.
Thank you, Steven. |
Dec 5th |
7 comments - 8 replies for Group 87
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14 comments - 22 replies Total
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