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| Group |
Round |
C/R |
Comment |
Date |
Image |
| 5 |
Oct 23 |
Comment |
Hi Mark!
So, I am clear, what did the original sky look like?
Next, I do like the featured piece, but Jim Horn's crop to off-center towards the right-slope is nice.
I agree your intended narrative is much different from the other interpretations offered ... but most important, in general, none are better than another, from an aesthetic value, point of view.
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Oct 24th |
1 comment - 0 replies for Group 5
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| 6 |
Oct 23 |
Comment |
Hi Charissa!
I like that you are using shallow Dof in creating softness ... natural lens bokeh is so much richer in revealing beauty than, for example, Topaz AI generated algorithms.
The compositional structure is OK, but perhaps a square crop will help eliminate some bottom area Ruth speaks about .... in PSCC Camera RAW I calmed down the background Purple flower ... other than that, this experiment is well achieved.
This said, as Karen pointed out ... perhaps spend more time walking around the flower, or if not possible, try changing the angle of view (up/down). Of course, sometimes we must abandon a particular visualization in favor of a different one (e.g., abstract) or just move on to the next group of flowers.
Looking forward to seeing more use of wide-open apertures in attempt to create softness and depth within a scene. |
Oct 19th |
 |
1 comment - 0 replies for Group 6
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| 62 |
Oct 23 |
Comment |
Good day, Israel!
Yes! A well composed composition that defines "place", and enjoys intrigue in virtue of the interactions between Light and Shadows! I Love it!
Monday, I am giving a lecture to the Tidelands Photography Club in South Carolina: titled ... "Drawing with Shadows for Creative Photography"
If you do not mind, I would like to present this image for one of many examples, to the group. |
Oct 1st |
1 comment - 0 replies for Group 62
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| 83 |
Oct 23 |
Reply |
Hi Don!
So glad this sparked your interest some .... above, Margaret asks, in so many words, why not just use one of many Film-like presets instead of the trouble of exposing and developing film ... the short answer ... no preset can ever truly "reveal" the special aesthetics different types of film offer the artist photographer ... and this includes a variety aesthetics depending upon how the film is used and then processed ... there is a lot going on, indeed. If you want to know more, reach out to me: lance.visualizingart@gmail.com |
Oct 19th |
| 83 |
Oct 23 |
Reply |
1. Indeed, using any post-production method (e.g., layers, pre-sets, and other AI related algorithmic programs) to "create" a photographic aesthetic is beyond what the Art of Photography (is). In other words, "faking an aesthetic" brings us into Graphic Arts and / or some Conceptualized photographic imagery, notions we do not realize in the "classic tradition" of photography.
And why my current research/studies are all in an attempt to offer the world a new set of identifying "tags" or categories for artist photographers to use when presenting their work. (Actually, similar work has been an active topic in the philosophy of photography for many years).
2. Yes, the slightly bright areas are what we experienced on this beautiful morning ... though I admit, maybe, a bit calming of those (center) areas may be needed before I print: in any case, I will try to maintain them as bright as possible. For now, though, they help reveal the atmosphere of that moment.
Lastly, I often remind people, when viewing both paintings and photographs in exhibition, stay back ... to see them more clearly (properly). This is especially vital when viewing almost all film-based photographs, and including many projected ones. Thank you for your thought provoking comments. |
Oct 18th |
| 83 |
Oct 23 |
Comment |
A very lovely image, indeed, Margaret!
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Oct 18th |
| 83 |
Oct 23 |
Comment |
Something has corrupted on this particular post: as such, Mark's comments have been lost. My comments, however, address Marks comments to Michael:
Mark, one particular "Camera Dynamic" that can be used to help effectively calm bright areas of snow (or other similar exposure issues) is dialing in various amounts of "Negative Exposure Compensation": this will effectively calm the bright areas down, and then bring back mid-tones in post-production carefully.
Overall, this is a lovely animal portrait! |
Oct 18th |
| 83 |
Oct 23 |
Reply |
Mark, one particular "Camera Dynamic" that can be used to help effectively calm bright areas of snow (or other similar exposure issues) is dialing in various amounts of "Negative Exposure Compensation": this will effectively calm the bright areas down, and then bring back mid-tones in post-production carefully. |
Oct 18th |
| 83 |
Oct 23 |
Reply |
Mark, one particular "Camera Dynamic" that can be used to help effectively calm bright areas of snow (or other similar exposure issues) is dialing in various amounts of "Negative Exposure Compensation": this will effectively calm the bright areas down, and then bring back mid-tones in post-production carefully. |
Oct 18th |
| 83 |
Oct 23 |
Comment |
Well done, Don!
This is a beautifully illustrated example of what some may consider, Documentary Art.
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Oct 18th |
| 83 |
Oct 23 |
Comment |
A very beautiful composition, Michael!
I am still perplexed why you had to use eleven separate "masks" to create this final version. For educational purposes, can you elaborate where such editing was applied?
Thank you, Michael. |
Oct 18th |
| 83 |
Oct 23 |
Comment |
Good day, Debasish!
One of our favorite locations in the World .. enjoyed two weeks composing images traveling along Glacier Highway!
For the most part, I must agree something seems hiding in the blackness of the sky ... and suggest opening this area up to reveal more detail will help the the entire image. Otherwise, this well documented scene is quite bold and majestic as Mark otherwise indicated in his comments.
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Oct 18th |
| 83 |
Oct 23 |
Reply |
Really appreciate your comments, Mark.
Indeed, many B&W images find trouble identifying with viewers, and so I understand your interpretations here. But by no means is your lack of "appreciation" a sign you have less than what it takes to be an artist photographer, or one of many spectators strolling through a gallery contemplating photographic art.
A conundrum:
This all said, your interpretation is "right-on" as to what Anne and me experienced this rather cool morning. Thus, your accurate articulation, at the same time, is summarized by the works inability to 'translate' the very articulation you so well described.
It would seem, in fact, the image did translate a mood and narrative to you. |
Oct 10th |
| 83 |
Oct 23 |
Reply |
Hi Michael!
Interestingly, this same comment came up in the Q&A portion of the lecture I gave in Myrtle Beach, SC this morning. Lovely facility and a very enthusiastic membership!
They cited almost the exact comment ... 'why so many judges have these so called, "blowout" areas as bad .... (for one example of (their) issues with judges). Of course, there are many images that have very poor exposure metering, thus serious "blowout" areas often show its ugly head .... this image is not one of them, and another (film) image used in the presentation enjoyed a similar aesthetic that presented the real.
I agree, the tops would offer more.
If I am not mistaken, the shore line was close and any position needed to include the shoreline ... which I did not like at the time of exposure. (But I am not 100 percent on this). As such, when I get back to Georgia, I will go back and find the scanned negatives to see if in fact, this is cropped through the viewfinder or not. Thank you, Michael!
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Oct 2nd |
5 comments - 6 replies for Group 83
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| 87 |
Oct 23 |
Reply |
Oh, yes! A definite improvement, Steve!
You maintained nice contrast and also maintained the shadows near the subjects head (illuminated on the sidewalk), which I really like, and the whole scene seems ... authentic!
The point of this exercise is not to completely dispel the featured Hi-Key look, but only to offer an alternative that, for some degree, follows so many other visual (high-key) effects. |
Oct 10th |
| 87 |
Oct 23 |
Comment |
Lovely scene Dale!
I agree with tightening the frame will bring a bit more interest, however, though Will's example is OK, another square crop that allows the Sparrow to be off-centered, to image-right, will help define a sense of "place" more accurately.
On a technical level ... or on a "Compositional Structure" level, the one single branch curving over the birds head really interferes with the creative whole: as such, we see how important patience can be to produce engaging photographic images that last the test of time. In this sense, I hope you spend a lot of time from a similar vantage point and compose several more images like this, but paying more attention to every detail that surround the main subject. |
Oct 10th |
| 87 |
Oct 23 |
Reply |
Interesting conversation, but maybe I can pinpoint the trouble I also see as it pertains to exposure and the aesthetic that is leading to these comments ...
Steve, I suggest the B&W conversion and processing includes too much "structure", or "details" across the entire image. The subject is seemingly camouflaged with his surroundings ... though the High Contrast (high-key) aesthetic is bold and a viable option in a creative sense ... it (also) seemingly makes the subject disappear.
So, for an experiment, bring the image back into Efex Pro and subtract (-) all the "structure", and start there. What I am hoping, is the decrease in detail "softens" portions of the image and allows more separation between the different elements in this, actually, wonderfully composed street scene. |
Oct 10th |
| 87 |
Oct 23 |
Comment |
Cindy, the shadows in the lower right corner (regardless of what caused it) fail the image: in this sense, as already mentioned, it completely interferes with the main subject .... this is obvious.
The other issue ... in a nutshell, something we have already brought to your attention in prior months, shooting in auto or camera-manual likely led to the (unnecessary) settings the others speak about. |
Oct 10th |
| 87 |
Oct 23 |
Comment |
Chan, you have created a lovely, rather intriguing abstract!
Another fine example of thinking outside the box in a creative sense! Bravo! |
Oct 10th |
| 87 |
Oct 23 |
Reply |
....well, it was obvious to me this was a "snapshot", and likely via cellphone as the color and overall exposure rendering seems fragmented, at least in terms with most of todays DSLR's ... but the conversation was not about perfect exposure or color rendering, but as you (rightfully) requested ... discuss how a snapshot can offer more than we often assume it can/does. What does a scene like this offer more than just the obvious. |
Oct 10th |
| 87 |
Oct 23 |
Reply |
Thank you Steve .....
So, this is a good example of how, within "street photography", in this example, offers more when a sense of "place" has been properly illustrated: here, viewers take in the "whole" scene and from here often find more to create narratives.
I often mentor students in street photography to back off (or not crop) a scene to instead focus on one particular item/subject, as doing so defeats the purpose in a lot of "street photography" ... thus, they are told to 'open up the scene' to reveal more and not be put-off by odd or otherwise background artifacts they feel (or were taught) were wrong. I speak about this (sense of "place") a little in my article printed in the March PSA Journal. |
Oct 10th |
| 87 |
Oct 23 |
Reply |
Thank you, Cindy! |
Oct 5th |
| 87 |
Oct 23 |
Reply |
And paying attention to the background (and horizon line) is always a must in all types of photography, though many situations within the "Street Photography" genre still "work" even when the composition presents a somewhat, (literally) twisted view.
Thank you, Dale! |
Oct 5th |
| 87 |
Oct 23 |
Reply |
Hi Will .... and as many (perhaps most) "Street Photography" compositions ... "luck" and / or perhaps more apt, ... 'being in the right place, at the right time ..' are deciding factors for engaging work.
Though in this case, I was surrounding with an abundance of opportunities for visual story telling. Very glad you are enjoying the work. Thank you! |
Oct 5th |
| 87 |
Oct 23 |
Comment |
Happy October, Will.
In light that the subject (Freedom Tower), seeming to look out over the masses ... perhaps her children ... under her wing ... if I may, the narrative can be quite compelling. (Here, the location and the subject, together, are powerful dynamics for creating narrative).
We often see images (compositions) of this type in a variety of photo-documentaries, where not just one, but perhaps several images reveal more than what initially meets our eyes ... we then look beyond the obvious in finding narrative. |
Oct 2nd |
4 comments - 7 replies for Group 87
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12 comments - 13 replies Total
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