|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 3 |
Oct 22 |
Comment |
Good day, Michael!
This work is truly inspiring for those wishing to see beyond the obvious: here, I speak of "working" the subject and sometimes this also includes how the work is presented. This has turned into a very ... Fine Art Series of still life, Michael.
The past couple of months (postings) represents wonderful art, where you are capturing the often over looked subjects that, if we try hard, can visualize the beauty within them.
In a similar voice, 16th Century painter Albrecht Dürer ... "Art is hidden in nature, and that he, who can tear her out of it, owns her".
Lance A. Lewin
PSA B&W Photography Mentor
PSA South Atlantic Area Membership Director
lewin.author@gmail.com |
Oct 24th |
1 comment - 0 replies for Group 3
|
| 24 |
Oct 22 |
Reply |
Thank you, Fred! : ) |
Oct 29th |
| 24 |
Oct 22 |
Reply |
Gee! I really like this Carol. You have also maintained the textures within the shadows ... a must attribute within my design structure for this piece.
Your rendition is very similar to the featured piece, but opens up to more exposure. Very Nice, indeed. Thank you! |
Oct 19th |
| 24 |
Oct 22 |
Reply |
Perfect!! |
Oct 19th |
| 24 |
Oct 22 |
Reply |
Tom, your the second person to offer more contrast .. perhaps something I need to re-investigate later. Thank you! |
Oct 19th |
| 24 |
Oct 22 |
Comment |
First, I really appreciate the positive feedback from everyone ... it is all about "sharing" ideas. I do understand each artist photographer have their own conceptualizations, I try to expand the process of visualization in everyone.
Barbara, thank you for your kind words, and thank you for maintaining an amazing series of discussion groups along with Tom .. which in my opinion, is one of the great "free" benefits within the PSA.
Respectively,
Lance |
Oct 19th |
| 24 |
Oct 22 |
Reply |
Tom, there are many times I think I have reviewed an image and its ready to go ... (I think we are all guilty of doing this at some point). Only after I step away ... and come back to the screen is when I often notice more can be done.
Take time to "stop", walk away, and even come back an hour or the next day ...a new vision awaits! |
Oct 19th |
| 24 |
Oct 22 |
Reply |
Bev, perhaps, but another way of looking at work like this is to Inspire others to look outside the box from normal Flora compositions: in this case, my input, (at least some) are clearly avant-garde, but I hope are appreciated for their examples of extending ones "visualization" and elemental skills for exploration of creativity.
But indeed, if you want, I will remove myself from the group as long as there is consensus among the other participants I do so. Thank you. |
Oct 18th |
| 24 |
Oct 22 |
Comment |
Pinaki! Well done!
As you state ...'I like the concept of environmental portraits'... indeed, using space to define a sense of "place" most activity makes many image more contemplative.
All you need to do ... I suggest... is remove the right-side flower and keep all the open space to the left. Lovely work!! I look forward to seeing more work like this from you. |
Oct 18th |
| 24 |
Oct 22 |
Comment |
Another Sunflower! Love these! Especially these aging and wilting ones seem to explore more in aesthetic possibilities! The entire production is well done thus revealing this artistic composition!
"Points to Ponder" .... something I have mentioned before as it relates to excessive post-production workflows and the use of Lensbaby glass ... much of what was done here can also be done using a fast quality 50mm lens and learning the values in focusing and using open-apertures to create artist values. I talk about this for those who think Lensbaby or other devices are needed for creativity.
Lance A. Lewin
PSA Black & White Photography Mentor
PSA South Atlantic Area Membership Director
|
Oct 18th |
| 24 |
Oct 22 |
Comment |
Good morning, Tom!
Yes, this is a really nice Wildflower .. good eye for capturing this little yellow beauty.
Comments: though I often speak about opening-up a frame to allow a sense of place or perhaps in these types of images, adding complexity via Dead-Space for increasing viewers contemplative sense ... here I suggest centering our subject, thus eliminating the extra space on frame-right. I did one other adjustment: in PSCC I turned-off all controls in Shadows / Highlights and carefully adjusted only "Midtone" to add a very small in crease in contrast to light and shadow.
Now, Bev's injected background also conveys a more contemplative subject in virtue the viewer is also taking in the background forms and textures, but the dead-space still bothers me.
|
Oct 18th |
 |
| 24 |
Oct 22 |
Comment |
Good morning, Fred!
Well, I must comment, the subject was never in focus. As such, you had to try and sharpen and increase Clarity and / or Structure to make the composition appear in focus ...
... (1/1000sec eliminates almost any type of movement and F/6.3 would have provided enough Dof to accommodate a (relatively) deep focus area ... so improper focusing is clearly the culprit).
" Points to Ponder" ... Manual or Auto-focus? ... auto-focus for capturing any type of flora is not a good idea, manual allows for better control, hands down.
If you have time, go back when you feel more comfortable and try another attempt at this most lovely flower. |
Oct 18th |
| 24 |
Oct 22 |
Comment |
Simply a wonderfully captured flower portrait! The vibrancy of color is powerful, bold and makes a statement! |
Oct 18th |
| 24 |
Oct 22 |
Comment |
Hi Bev! I love Sunflowers and this lovely portrait is just beautiful! The small water droplets are a fine touch that keeps the flower feeling fresh, real.
|
Oct 18th |
| 24 |
Oct 22 |
Reply |
Appreciate the positive comments, Pinaki.
Yes, as I mentioned to Bev, leaving the textures within the dark shadows is key for the success in this composition ... otherwise we begin to make the subject more graphic ... (which in itself is OK for another artistic interpretation), however, less authentic or real: I feel the original illumination to all the textures are special and contemplative, more so than the aesthetics mainly felt through more graphic arts one.
It was important to keep these aesthetic traits in light of presenting a mostly Abstract composition. Thank you. |
Oct 18th |
| 24 |
Oct 22 |
Reply |
...understood. : ) |
Oct 14th |
| 24 |
Oct 22 |
Reply |
Yes, this is really much bolder ... well done!
However, the veins within the dark sections are eliminated and overall,the textures are dulled or absent. Alternatively, perhaps, a less of a stronger-hand will reveal more contrast, you are after, but maintain the qualities in texture and definitive lines.
|
Oct 14th |
7 comments - 9 replies for Group 24
|
| 39 |
Oct 22 |
Reply |
Hello, Vincent, Fran, everyone.
The issue with the original image, and subsequent BW conversion, is the original White Balance was not properly captured/corrected. We do not see Blue Hues in reality (at least not in this level of saturation) and thus imbues a flat texture. In converting to B&W from this image can (often) percent interpretations that are far from what was experienced at the time of capture.
The attached color-corrected image illustrates a more pure-rendering of the scene as our own eyes and brain see it: the immediate clarity and separation of textures is revealed and thus (likely) a more robust B&W conversion can be accomplished. I hope this helps.
Lance A. Lewin
PSA B&W Photography Mentor
PSA South Atlantic Area Membership Director |
Oct 23rd |
 |
0 comments - 1 reply for Group 39
|
| 42 |
Oct 22 |
Comment |
Good morning, Holly!
Good catch! Love the colors and overall frame or "compositional structure". Well Done.
However, I would have liked to see more of the surrounding leaves brighter and less hidden in shadow or vignetting. I don't mean completely out from the "dark rim", just more. I suggest, will ensue more visual balance for long term viewing, and thus deeper appreciation by spectators.
Lance A. Lewin
PSA B&W Photography Mentor
PSA South Atlantic Area Membership Director
lewin.author@gmail.com |
Oct 27th |
| 42 |
Oct 22 |
Comment |
Hello, Robert. Passing by and saw this very engaging image .... I would like to join the conversation:
Indeed, you really did crop to get this composition, I do the same on occasions, but I see you are using a Macro lens, so why did you not use this feature with regular manual focus, I suggest you would have been able to get (traditional) pin-point focusing and also a shallow Dof.
Of course, the use of a tripod would goes a long way to secure overall clarity within the design choices by virtue of camera dynamics (e.g., aperture, shutter-speed, ISO, etc...) while using Macro features.
(Also, I would like to add, it is refreshing to hear you point out the importance of maintaining photography core proprietary features; in this sense, the artist-photographer needs to visualize, search, compose and capture Art, that is hidden in nature, and not "rearrange" what is before the user; this what makes the Art of Photography (in a classic sense) so challenging).
Nonetheless, I like your eye for artistic balance and hope you continue to search and capture like-images going forward.
Lance A. Lewin
PSA B&W Photography Mentor
PSA South Atlantic Area Membership Director
lewin.author@gmail.com
|
Oct 27th |
2 comments - 0 replies for Group 42
|
| 57 |
Oct 22 |
Reply |
Andrew, that is a neat story ... how your parents collided (happily) in a Navy darkroom ... how cool is that!
...'much to learn' ... well, I guess in any art genre the learning never ends ... and it all depends how much time we have ... perhaps picking just one or two sub-genres (e.g., portrait, landscape, Macro ... based on digital or film-based work) may be a good way to begin.
Appreciate your enthusiasm regarding my website ... a lot of my new images are not posted there, but I hope the samples that are there serve as examples for the wide scope of aesthetic possibilities our art genre offers us. |
Oct 24th |
| 57 |
Oct 22 |
Comment |
Hi Mary! Yeah, I really like this portrait ... you have maintained the soft and delicate aesthetic produced in virtue of the strong backlighting.
I would very much would like to share the version before the eyes were manipulated to bring them such strong prominence ... as Jessica mentions, the addition of the slightly out-of-focus person holding Rylee adds to the overall emotional and creative aspect this image offers viewers.
Well done.
Lance A. Lewin
PSA B&W Photography Mentor
PSA South Atlantic Area Membership Director
Lewin.author@gmail.com |
Oct 24th |
| 57 |
Oct 22 |
Comment |
Happy Monday, Andrew! It is a well composed image that also brings us all back, oh, about 15 years and more.
Very neat close up shot of this dated film camera, always a welcome site within 21st century photography as a kind of 'breath of fresh air' ... if for any reason, just something different.
Perhaps you have been inspired to go out and shoot a few rolls as a supplement to work created with the G5 ... I shoot between 20 and 40 percent film nowadays, almost all of it BW film stock.
Lance A. Lewin
PSA B&W Photography Mentor
PSA South Atlantic Area Membership Director
Lewin.author@gmail.com
|
Oct 24th |
2 comments - 1 reply for Group 57
|
| 62 |
Oct 22 |
Reply |
This is awesome!!! Can't wait to look this over! Thank you, Bunny! |
Oct 26th |
| 62 |
Oct 22 |
Reply |
A location I need to seek out, indeed! If you have advice on where/when to visit, please share. : ) |
Oct 26th |
| 62 |
Oct 22 |
Comment |
Hi Bunny! Hope you are well.
Passing by and saw this very creative composition. First, Kudos to you for visualizing and then "working the subject" from behind the viewfinder and maintaining an authentic rendering.
The sky .. how lucky to have "weather" at the time of this encounter with the lighthouse, and the open, dark area in the sky "balances" the brighter, more salient structure: the "compositional structure" also presents a bit of "tension" into the scene, and I like that very much.
Lance A. Lewin
PSA B&W Photography Mentor
PSA South Atlantic Area Membership Director |
Oct 25th |
1 comment - 2 replies for Group 62
|
| 83 |
Oct 22 |
Reply |
Indeed, it is and the work (currently) sits proudly on my bedroom chest.
Again, thank you for your kind and relative comments for this special project. |
Oct 24th |
| 83 |
Oct 22 |
Reply |
Steve, thank you for stopping by and adding to this very different and involving conversation. Very good question: in fact, the image we see here is an exact replica of actual photographs of me at the time.
|
Oct 24th |
| 83 |
Oct 22 |
Comment |
Good day, Margaret!
Your featured entry and thoughts are the essence for this month's special project.
It is said (within philosophical conversations) photographs are "transparent" … 'we see through them' as we do looking at stars through a telescope … it is an actual passage or vessel to see the past. Getting closer to the past … and within the depths of our own families and friends often becomes emotional … as we seemingly are transported to the spaces we are viewing.
Indeed, as Margaret leads … it is so important to continue to "print" and save all these amazing precious memories for future generations … as it is important to realize digital content may fade and altogether faulter in the coming years leaving nothing but an empty computer folder for our future relatives to contemplate.
The Print (The Photograph) is, and always has been the object that hold the Art of Photography special: it is the tangible canvas for the artist photographer and those in the future who will touch, feel and hang to admire … as does the artist painter with their unique canvases.
Technical: the featured work is very well presented and Kudos for the fine post-production work that allows us to see into this amazing family portrait!
|
Oct 18th |
| 83 |
Oct 22 |
Comment |
Good afternoon, Jon! Indeed, a lovely image of your son at two years old.
It is amazing how images like this bring back such precious memories ... I hope your son gets the time to see this image from those early camping days which sparks joyful conversations.
With so the advent of digital photography we have moved away (for the most part) from saving, handling, feeling the tangible print ... via the "family album". My wife makes albums through Shutterfly printed books .. but honestly, it is not the same as holding the paper print in my hand.
The B&W conversion is perfect! Thank you for sharing! |
Oct 13th |
| 83 |
Oct 22 |
Comment |
Hi Mike! It is amazing how rotating the image presents itself in a new and most different perspective from the original. Lovely transformation to B&W that imbues a bold, but not intimidating connection to the viewer, in my opinion.
Thank you for sharing! |
Oct 13th |
| 83 |
Oct 22 |
Comment |
Hi Debasish and thank you for sharing this lovely memory of traveling with your son.
As Margaret mentioned, the B&W rendering easily reflects the mood of the scene we are directed to in the color version. You have maintained the details and the shapes, lines light and shadow I suggest illuminate well in there color original, but present the viewer with a bolder statement via the B&W presentation.
As Margaret also asked, will finding and speaking of this image inspire you to find time for another trip, or alternatively, find like images from years past for reevaluation and contemplation? |
Oct 13th |
4 comments - 2 replies for Group 83
|
| 87 |
Oct 22 |
Reply |
Indeed, it does. |
Oct 13th |
| 87 |
Oct 22 |
Comment |
Wow, Cindy! I really like this composition!
The Compositional Structure makes the work very engaging and I may suggest, very emotional as well.
Beautiful work! |
Oct 13th |
| 87 |
Oct 22 |
Reply |
Thank you for your positive comments. |
Oct 13th |
| 87 |
Oct 22 |
Comment |
Good day, Will! Wow! Another wonderful creative work!
But, allow me to jump to Chan's mention of "purists" being less than excited ... as part of a philosophical essay (part-1) I am writing and due to be published for a special edition of the British Society of Aesthetics, one of my core arguments deals with works created using various tools or techniques born mostly from 21st century photography: the discourse is not "Traditional" vs "Digital" but instead identifying and categorizing different types of images ...as a means to place them on their own pedestal, if I may.
Will .. thank you for including the detailed workflow process .. it goes a long way in helping viewer "appreciation" and of course, anyone wanting to try a similar photographic exercise. |
Oct 13th |
| 87 |
Oct 22 |
Comment |
Good day, Steve! Very creative and the narrative, in my opinion to strong ...
No. "Blur" will disrupt the current narrative in my opinion:
I react and connect to the featured work in a most provocative or maybe more accurate, state of anxiety ... in this sense I am sensing the (possible) meditative state the gambler is in: here, he is in the middle of a big game ... at this moment, the moment he tosses the dice ... everything hangs in limbo: will he win! or alternatively, lose everything! Could be a great ending to a movie! |
Oct 13th |
| 87 |
Oct 22 |
Comment |
Hi Chan! My remarks echo the others, and Will's comments also parallel ideas that are the core in some Japanese aesthetics, for example, Wabi Sabi and Mono no Aware, both bringing more prominence to the austere, common place, (among other attributes that relate to the wilted and aging).
The work is also a shadow of the work made popular by Edward Weston ... search 'Edward Weston's still life' for inspiration. I hope you continue this line of work as a series that could be presented side-by-side as a group of like (smaller) prints.
Well visualized and presented! |
Oct 13th |
| 87 |
Oct 22 |
Comment |
This is really a really striking image in virtue of robust colors and the amount of clarity in the reflection, both presenting the viewer an unusual subject, indeed.
If I could alter just one aspect ... it would be to crop-out just a little of the left side of the image and still within the square format it is presented in.
|
Oct 13th |
| 87 |
Oct 22 |
Reply |
Hi Cindy ... Everyone! This is a very good question, and I recently mentioned the practice to a participant in my mentorship program. Please, go to the "Bulletin Board" to read a short piece on the subject. Reach out to me if you have questions.
Thanks! |
Oct 9th |
| 87 |
Oct 22 |
Reply |
Hi Steve. Good questions. After all these years I thought about revisiting this image for our DD group, and because its Isla's birthday. Good memory, Steve!
First, I intentionally did not say a word to Ashley after I told her to, do her best and ignore my presence. Most family members know I work this way, so a candid act is more likely than not.
It is actually both nose and lips that is, for all practical purposes, in focus. The eyes too, have some clarity and this was my intent in "bracket" No.1.
The history of my inspiration for soft focus portraits goes back when I learned and studied 19th century artist photographer, Julia Margret Cameron. Her work still inspires me and I often refer her work to the many photographers I mentor.
Finally, and as explained in the description, every choice in camera dynamics, and including natural light defines the finished aesthetic. |
Oct 7th |
5 comments - 4 replies for Group 87
|
| 92 |
Oct 22 |
Reply |
Hi Lou. Indeed, that is a good observation: asymmetrical aspect is a dynamic catalyst in "street photography". And something we have discussed on a couple of images presented in this group - most street photography that imbues spontaneity, also presents images that can be otherwise off-center or skewed, as in Chucks September entry, for one example.
Thank you for this critique. |
Oct 25th |
| 92 |
Oct 22 |
Reply |
Hi Steve! Yes, interesting observation, indeed! |
Oct 23rd |
| 92 |
Oct 22 |
Reply |
Appreciate your encouraging comments! Thank you, Marianne! |
Oct 19th |
| 92 |
Oct 22 |
Reply |
Hi Marianne .... so, in an attempt to help/suggest some ideas using this mild-"telephoto" (not wide angle) lens (basically, used nowadays as a Portrait lens) can you share the camera dynamics (or settings) used for this shot. Thanks! |
Oct 19th |
| 92 |
Oct 22 |
Comment |
Hi Ian!
Gee, I echo Beth's reasoning for the family-only frame: in itself the featured crop reveals many layers of interesting things (body position, expressions) to form a narrative.
Well done!!! |
Oct 19th |
| 92 |
Oct 22 |
Comment |
Jazz and Black & White photography ... it does not get any better!
Questions: Marianne, I am confused why you stated ... "I was using my 85mm, hence the blurriness" Can you elaborate the connection between the two?
Thank you, Marianne.
|
Oct 19th |
| 92 |
Oct 22 |
Comment |
Hi Jill! We got to love the scope of color being revealed ... very active and brilliant reflecting the mood of both the festival and our subject. |
Oct 19th |
| 92 |
Oct 22 |
Comment |
Good day, Beth!
Yes, indeed, really enjoying both the colors and seemingly coordinated movements you captured between these two, very committed, street artists. Love it! |
Oct 19th |
| 92 |
Oct 22 |
Comment |
Hi Lou!
Wonderful capture! Actually, perhaps this scene would better fit within a B&W presentation. In any case, thank you for sharing. |
Oct 19th |
| 92 |
Oct 22 |
Comment |
Ah, hello chuck! Well, my initial reaction or response is most definitely not echoing the others at this point: instead, I will state, thus far, is the best Street Photography narrative I have seen from you (I am sure there are others).
The entire scene evokes a sense of "place" in virtue of the open areas you have included. The girls are not here for a portrait, but are only supporting members to the narrative: for me, the story clearly defines a record of local vernacular (which can be in any city) illustrating childish pleasures we all have one time or another enjoyed.
Technical: of course I would have liked to see the finished piece without the addition of "film simulation", and would hope the higher ISO1600 introduced Noise to, in affect, add film-like grain. In any regard, the "capture" could not be any better as it relates to both girls: their manners, and expressions are perfect, in my opinion (very reminiscent of work by Henri Cartier-Bresson).
Lastly, I do offer a slight crop: I suggest taking out the far, far, left section of the Slide, leaving the girl "striding" towards the bench as a, bit of "balance", as it were.
Job well done! |
Oct 19th |
 |
| 92 |
Oct 22 |
Reply |
Thanks! |
Oct 18th |
| 92 |
Oct 22 |
Reply |
Thanks! |
Oct 18th |
| 92 |
Oct 22 |
Reply |
Well, I was standing there for about 40 seconds framing and manually focusing ... I even shot one and reset to another aperture setting ... so plenty of time to set up and be sharp, as it were...then the Man came by.... it was awesome! What I should have done is run after him and ask for his name. Oh, well. |
Oct 18th |
| 92 |
Oct 22 |
Reply |
Hi Ian .... No, the original off-center approach was intentional: here I like to induce a bit of confusion for contemplative reasons ... I was lucky to have framed the scene like this so when this Man walked past me his off-center appearance makes it even more candid-like. Thank you for your positive comments. |
Oct 18th |
6 comments - 8 replies for Group 92
|
28 comments - 27 replies Total
|
