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| Group |
Round |
C/R |
Comment |
Date |
Image |
| 83 |
Sep 21 |
Reply |
...and I hope you share with us in the near future! : ) |
Sep 27th |
| 83 |
Sep 21 |
Comment |
Well captured! Easily conveys the emotion of this Caribbean vernacular. The somewhat harsh light only intensifies viewers' connection to this doleful event. |
Sep 23rd |
| 83 |
Sep 21 |
Comment |
Hi Dianne! I will be honest, though the subject is important and intriguing, the composition does not reveal its importance: I suggest, the rails or fence-like structures take away from the Fine Art aspect that may have been exposed without these interferences. (I do not approve of Deleting artifacts in photographs and instead push photographers to pre-visualize and design the scene before triggering the shutter-release button).
As it relates to tone/exposure...I like it a lot! The grey overcast sky really compliments the subject and the grass. |
Sep 21st |
| 83 |
Sep 21 |
Comment |
A well framed and executed documentary-like photograph...I like this a lot! |
Sep 21st |
| 83 |
Sep 21 |
Comment |
Your amazing! I love these super detailed and technical shots!! As always, it looks awesome! |
Sep 21st |
| 83 |
Sep 21 |
Comment |
Well balanced, Debasish! A lovely Landscape and of course the BW rendering only helps to reveal its elegance!
However, I do like very much Jason's edited version to bring out more of the details.
|
Sep 21st |
| 83 |
Sep 21 |
Reply |
Thank you, Debasish.....and yes, I addressed the Bright light in the above comments.
Exactly, F/4 just wide enough for hand-hold and fair amount of Dof as you described. |
Sep 16th |
| 83 |
Sep 21 |
Reply |
Yes, I see the objection, but I rather "Dodge" her face instead. The lighting is part of the environmental state at the time of capture, and I do not want to disturb this. It is part of what defines the visual narrative or helps the viewer engage the space Isla is in. This said, a very little darkening or "Burning" of the background light is viable.
Thank you, Dirk. |
Sep 16th |
| 83 |
Sep 21 |
Reply |
Hello, Jose. The use of space can define an actual location (or specific space), but in many cases is used to "reveal" and/or "describe" the surrounding space that frames a subject: in this way the photographer/cinematographer can help define the narrative by providing visual cues the viewer can react to.
Some of best photography and cinematography reveal an enormous amount of emotion, feelings, including trepidation or meditative ease (e.g. Award winning Director of Photography, Stuart Biddlecombe of the "Hands Maid Tales" - who uses this technique on may of his creative scenes).
In my featured photograph I feel it is absolutely clear the subject is drawing on glass: the frame and background light help define this narrative. (The shot was composed/framed through the viewfinder). |
Sep 16th |
5 comments - 4 replies for Group 83
|
| 87 |
Sep 21 |
Reply |
Indeed, the color version is very attractive, and yes, the modified crop is what is important here, not it being shown in BW. I am happy you pointed this out. I'm glad you like it, Chan. |
Sep 16th |
| 87 |
Sep 21 |
Reply |
Thanks, Chan....yes, I could not believe this guy looked up and at me....it was really cool...and intimidating. |
Sep 16th |
| 87 |
Sep 21 |
Comment |
...steady hand, indeed!! Great capture, Jennifer. Beautifully executed!
As it relates to ISO setting...this should be the first item you set before any photo shoot: your camera is factory set at 100, but 250 (in this photo) is just off that and will not inhibit clarity in this composition. Though, with the bright atmosphere, ISO-100 (base setting) would have been my first choice, as Steve mentioned. |
Sep 14th |
| 87 |
Sep 21 |
Comment |
Good day, Cindy!
"Points to Ponder"
Steve speaks clearly and accurately, but also Focus is a big part in determining the outcome from work of this nature: Auto focus vs manual focus: with manual focus the user (photographer) has the ability to decide which part (and depth) within a scene is tack sharp, while allowing Depth of Field (Dof) to design the rest of the composition. It is a much larger subject then we can engage here, indeed.
I like the second more close-crop you posted below...that reveals more detail and texture and like Jennifer said, creates a very original "water on web" shot...well conceived! |
Sep 14th |
| 87 |
Sep 21 |
Reply |
...this is correct and good advice. This is also the same type of setting that Auto Exposure may suggest and capture the scene at..... |
Sep 14th |
| 87 |
Sep 21 |
Comment |
Will..this is a fine arrangement of shapes and lines, and the light and shadow complete this delightful and warming scene. Well done!! |
Sep 14th |
| 87 |
Sep 21 |
Comment |
Holy Molly, Dale!! Great capture! The only thing I would do here is to "Dodge" the underside of each jet to bring out the yellow, blue and a little detail! Awesome! |
Sep 14th |
| 87 |
Sep 21 |
Comment |
Steve, I love trains!! Very Bold and in your face presentation...and I like that!
Alternatively, I like the awkward (and disturbing) lines of the original: here, the off-camber tracks add a great sense of trepidation and even engender the sense of motion as the Locomotive is coming toward us!
Here a 9x16 crop and rendered in BW to highlight the whole scene and perhaps initiate more narrative. |
Sep 14th |
 |
| 87 |
Sep 21 |
Comment |
Hi Chan! First, I like the draped moss and vine coming down, framing the subject; focus and arrangement is a great start! Well designed, Chan. Let's take this a step further....
I suggest taking out even more (tighter crop) to highlight the draped moss and vine as balance points for our main subject. The details in the stone pedestal are also complimenting the subject. Attached my cropped view and BW rendering to highlight all I mention above. |
Sep 14th |
 |
| 87 |
Sep 21 |
Reply |
Hi Cindy! Very happy you like it....thank you! |
Sep 14th |
| 87 |
Sep 21 |
Reply |
....same mention as Steve...yes, something I will work on. Thank you, Jennifer! |
Sep 14th |
| 87 |
Sep 21 |
Reply |
...it was an unexpected photo shoot...a lot of fun for sure and a great situation for the 400mm glass, as I was not getting close to these creepy critters! Both the color and BW work well here, but for me, the BW allows the viewer to concentrate more on the details, as yo pointed out. Happy you like it! Thank you. |
Sep 14th |
| 87 |
Sep 21 |
Reply |
Hi Steve! Yup! These are large Pets! Best to be in a camper, indeed!! I see your point about the portrait fading into the background: I may try a light Burn of the entire background to help this...but for me, it still works as is. |
Sep 14th |
6 comments - 7 replies for Group 87
|
| 99 |
Sep 21 |
Reply |
Happy Monday, Peter. This wider view is wonderful! As a consequence, I also see the Dog more clearly in its right-bottom location....together we are beginning to see a bit more clearly a story, or at least the essence within your style of abstract.
Our webmaster, Tom, recently replied to another similar post like this one (on the DD83-mono Bulletin Board that I administrate) and his sentiments mirrored your words: going beyond "The rules" and creating work that best fits your personal artistic vision as it relates to photography or perhaps one of the other emerging (and what I refer to as) "photographic Mixed Media" or Jerrold Levinson "Hybrid-art-forms" from his 1984 paper of the same title.
I look forward to seeing more of this work from you - just contemplate a story and/or invigorating aesthetic and then carefully visualize, meditate or otherwise become one with your ideas, the environment and your camera. Keep in touch, Peter.
lance.visualizingart@gmail.com
|
Sep 20th |
| 99 |
Sep 21 |
Reply |
Good afternoon, Peter, Gerard....let me chime in...a growing concern to me, and others is the danger of focusing on concepts, methods and practices from the PSA perspective: and here we find too often a repeating theme that revolves around "Competitions", and less on the Art of Photography - or Art for arts sake. In a recent meeting with all the Directors of Membership and our VP, I lead discussions in this direction.
Peter, your work is surely imaginative, and you must be applauded in this regard, as well as the execution, but similar to Gerard's comments, the work does not come off successfully: the work has no means of an anchor or otherwise detail to bring the viewer into a narrative. Even an abstract should be able to emanate some degree of narrative, even if only as a visual reference to a certain aesthetic (e.g. Wabi Sabi, for just one example), where the narrative is one that directs the viewer to enjoy and contemplate the understated, old and even the dying as a source of beauty.
A lot of what can be learned within the PSA (and frankly, a lot of local photography clubs and guilds, as well) dwell on some concepts as 'absolutes", but in fact, should be only casually mentioned to the student of photography. (e.g. instead of concentrating on the "Rule of thirds", I only mention briefly in workshops, instead I teach/discuss the process of "visualization".
There is a lot to discuss, indeed, and I look forward to continuing this conversation. Thank you.
Lance A. Lewin
PSA Black & White Photography Mentor
PSA South Atlantic Area Membership Director |
Sep 19th |
0 comments - 2 replies for Group 99
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11 comments - 13 replies Total
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