|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 3 |
Jan 25 |
Reply |
And this idea is perfectly fine, but then I do suggest such hybrid illustrations become part of a theme ... and present the whole body of work in the way you described it to me.
"Points to Ponder"
"Continuity" is a key attribute in enjoying a successful exhibiting of any type of serious (documentary & Artistic) work ... such as maintaining a certain Tone (if toning is prescribed in the final B&W version) throughout all the prints, and also framing, for another example, needs to be all the same in most circumstances.
I can see your hybrid (color/BW) work doing well in telling a powerful story ...it just needs to be clearly presented as a core aspect of the work, and not an interjection or anomaly. |
Jan 7th |
| 3 |
Jan 25 |
Comment |
Good day, Kieu-Hanh Vu
Your work immediately reminded me of aesthetics 20th century photographer Luigi Ghirri (1943-1992)often implemented in his work using Kodachrome color film: here, an otherwise uncluttered scene is presented with high-interest in virtue of the blending/matching of color and soft atmospheric conditions.
A wonderful sense of "place" that you have defined by this intriguing perspective. Well done!
Lance A. Lewin
PSA Global B&W Photography Mentor
PSA South Atlantic Area Membership Director |
Jan 2nd |
| 3 |
Jan 25 |
Comment |
And here, a continuation of the Series of compositions you posted in DD-83 Mono: yes, a very comprehensive collection to identify this location/story with the viewer.
However, I have one caveat to the group of images here ... I do not think you need to employ/interject Color into an otherwise B&W composition ... in my strongest opinion, this type of (serious-documentary) work needs to remain focus on strong "compositional Structure" that stays outside the hint of Digital Art, unless of course, you employ the same artistic technique on all the compositions, thus setting a narrative/aesthetic).
In strict form, however, viewers are more prone to contemplate the work within the serious tone it deserves.
In other words, I argue, your work in this series (here and in DD-83) are well visualized, composed and presented without the need to spark interest outside of "pure" documentary style. Work that should be well received as an article .. hope you think about doing this. : )
Lance A. Lewin
PSA Global B&W Photography Mentor
PSA South Atlantic Area Membership Director |
Jan 2nd |
2 comments - 1 reply for Group 3
|
| 6 |
Jan 25 |
Comment |
Hi Charissa! Lovely Flower Portrait!
No cloning. Next time try to position yourself differently, or chose another set of Hibiscus. Nonetheless, the featured work presents wonderful depth, texture and just enough detail to not be too overpowering, in my opinion.
Alternatively, conversion to Black and White may offer you opportunities to resolve the "space" (in the lower right) others are commenting about. Just a thought. |
Jan 16th |
| 6 |
Jan 25 |
Reply |
.... we all look forward to seeing the work! : ) |
Jan 2nd |
| 6 |
Jan 25 |
Comment |
Happy New Year, Karen!
I must admit ... the image has seemingly cast a spell over me!
I want to keep looking at it ... the juxtaposition of the subject (and luscious color) and amazing high-key (or bright white) space it sits upon, is very attractive ... or should I suggest, very addictive.
However, allow me to suggest, here, we are enjoying this "single" image, but a more powerful approach to this type of work is through presenting a series of like-compositions: in this case, I imagine a single line of (20"x20") Square Formatted photographs placed 2-feet apart in a gallery setting and illuminated by soft spotlights.
Such a presentation of different fruit and vegetables sitting upon (or floating, via no shadow, as an alternative design) would surely make visual-addicts of many spectators contemplating the work.
Lance A. Lewin
PSA Global B&W Photography Mentor
PSA South Atlantic Area Membership Director |
Jan 2nd |
2 comments - 1 reply for Group 6
|
| 24 |
Jan 25 |
Comment |
Charissa! I really like this composition ... finding beauty in the old, wilted ... very much themes described in Japanese aesthetics .. and you have composed a lovely picture that encase the dying beauty in a flower: an often missed experienced by many.
Oh, the right-side broken stem and flower .. is perfect .. in my opinion, of course. The broken stem/flower only add to the overall unique character of this particular still life scene. |
Jan 21st |
1 comment - 0 replies for Group 24
|
| 62 |
Jan 25 |
Reply |
My pleasure, Chris!! |
Jan 7th |
| 62 |
Jan 25 |
Comment |
Hi Chris, and Happy New Year!
Was passing by and saw this intriguing image ... your featured work is very intriguing, indeed, as you bring us down to where the insects and animals enjoy an alternative perspective from humans. Lovely Work!!
Upon seeing the Original, I love that even more! Why?
"Points to Ponder"
I will suggest, one of the key attributes to the original is the variety of shapes and textures across this amazing frame. Alternatively, the Featured work has omitted most, thus, revealing less, than the original.
Both are stellar compositions, but one, enjoys the benefit of a larger/wider Stage, and thus (perhaps)a better overall performance is enjoyed by the actors, and perhaps creating more staying power with spectators.
(I took the liberty to edit the original as a comparison within a B&W aesthetic using a (Green Filter) during the conversion from the color original).
Lance A. Lewin
PSA Global B&W Photography Mentor
PSA South Atlantic Area Membership Director
lance.visualizingart@gmail.com
|
Jan 2nd |
 |
1 comment - 1 reply for Group 62
|
| 83 |
Jan 25 |
Reply |
Hi Charissa! Thank you for stopping by! I always appreciate your critiques.
Indeed, the brightness in this part of the image does imbue a sense of energy! From the lower portion, the brightness slowly diminishes fading into oblivion!
|
Jan 21st |
| 83 |
Jan 25 |
Reply |
Yes, a bit different kind of visual experience, well, at least from me. Indeed, that is, a leaf. |
Jan 21st |
| 83 |
Jan 25 |
Reply |
Good points, Elsie. Thank you. |
Jan 16th |
| 83 |
Jan 25 |
Reply |
Again, I am very humbled hearing your very kind and thoughtful comments. Thank you, Don. Take care and I am very confident your creative journey will continue to thrive! Take care! |
Jan 16th |
| 83 |
Jan 25 |
Reply |
Excellent! I guess we learn something new everyday!
Thank you, Don! |
Jan 11th |
| 83 |
Jan 25 |
Reply |
A bit more "processed" than I normally do ... and one of the key tools was the "Soft Contrast" contrast adjustment in Silver Efex Pro-3.Then I "Burned" areas I felt were not dark enough. Just playing around!! Thanks, Michael! |
Jan 9th |
| 83 |
Jan 25 |
Comment |
Indeed, a charming slice of Georgia nature. Of course, the unfortunate absence of clouds makes for a common white sky, unless of course, you try filtering through colored filters: using film, these glass filters attach to the front of the lens on the camera, while similar tools can be used in post-production via digital software, like Silver Efex pro, for one example.
I edited your composition to experiment on an alternative visual narrative: cropped closer to the tallest tree, then using a Red filter I made the blue sky black, then adjusted luminosity for effect. In addition, I further Dodged the white'ish leaves differentiating them from the darker areas, more than you already nicely achieved.
The final result makes a spectacle of the sky, while helping to enhance the tallest tree against the sky. An Ansel Adams effect, if you will.
Both compositions are acceptable, and wonderful images, but one adds a bit more for viewers to think about ... and perhaps make them stay longer to contemplate and enjoy a simple view of natures beauty.
|
Jan 5th |
 |
| 83 |
Jan 25 |
Reply |
Indeed. |
Jan 3rd |
| 83 |
Jan 25 |
Comment |
Happy New Year, Done!
This is really a well framed and processed work. I like both frames.
Most will prefer the Featured (closer) crop, where I am more about defining a sense of "place". As such, the Original both defines place, as well, helps give a sense of motion, because viewers see a direction for the train to move, as you already eluded to.
The featured work is more about a Train Portrait, and the effects of motion is diluted because viewers senses of "direction" are less powerful.
Question: it is interesting to see star-light burst from the station lights with F/6.3, usually, a small aperture creates this much star-burst ... can you shed light on this? |
Jan 2nd |
| 83 |
Jan 25 |
Comment |
Happy New Year, Adi!
You know I never tried registering a scene via the BW setting on my DSLR ... something I may try someday ... in the meantime, I continue to use BW film.
First, I really like the overall composition ... you very clearly established a sense of depth and the vastness of this particular location, as well as identifying structures of the region.
Though I think you processed the work nicely, I am even more interested in the original frame as a place to start ... that is using the muted tone from the camera. But that is just a personal preference.
In any case, the work is well visualized, recorded and processed. |
Jan 2nd |
| 83 |
Jan 25 |
Comment |
Happy New Year, Michael!
Love this!! Perfect example of when/how/why to present a series of photographs that help direct viewers towards a specific narrative, as we see in this example. As I have mentioned in the past, work like this (a series) is best when viewed in Exhibition at galleries and museums, for two perfect spaces to study and contemplate the work.
Well visualized, recorded and finished!!! |
Jan 1st |
4 comments - 7 replies for Group 83
|
| 87 |
Jan 25 |
Reply |
You and Mr. Korn make very important remarks/suggestions: in this regard it will help to steer my creative intentions, and including the presentation of this type of work.
Absolutely agree, viewing this type of work (and the unusual narrow framing) will work best within a series, indeed.
As always, thank you for your detailed critique!
|
Jan 2nd |
| 87 |
Jan 25 |
Comment |
Stunning seaside abstract-like aesthetic!
For me, however, I will suggest too much "structure" is built up in the churning waves ... this said, however, is key to the images Abstract quality.
Do you have another version with less processing? This would likely represent a different, and more natural visual presentation.
In any case, this is a lovely B&W photographic image. |
Jan 2nd |
| 87 |
Jan 25 |
Reply |
Here is the book, but I must suggest, it is not easy reading for beginners.
A more appropriate entry is an essay on Japanese Aesthetics on the
Stanford University website: https://plato.stanford.edu/entries/japanese-aesthetics/ |
Jan 1st |
| 87 |
Jan 25 |
Reply |
|
Jan 1st |
 |
| 87 |
Jan 25 |
Reply |
.. these are valid points to ponder, indeed.
Perhaps this is a good example in "less understanding" (and thus, less engagement) in a single photographic composition: alternatively, seen within a group (or series) of like compositions ... or as a Triptych, for example, beauty hidden within the works obvious ambiguous aesthetic would find more attraction.
As always, thank you for your thought provoking critique. |
Jan 1st |
| 87 |
Jan 25 |
Comment |
Happy New Year, Cindy!
Well, I will be honest, though I think the subject has potential, perhaps within an abstract presentation, I do not feel it has been accomplished here.
Instead, more time may have been needed to create a view/perspective that enhances the objects shape ...likely closer or perhaps recorded straight overhead?
The lesson here is about spending more time to "work" the subject. In many instances, after I work a subject for several minutes I decide it offers no visual characteristics that will initiate, what I term, a "Contemplative Structure". Alternatively, working the subject (including looking at background and lighting, i.e. where the sun is located relative to the subject) is all part of the process in creating from behind the viewfinder. |
Jan 1st |
| 87 |
Jan 25 |
Comment |
Happy New Year, Will!
Gee, a prime example of photographic abstracts that compels viewers to stay and contemplate the various lines, shapes, light, and shadows ... every time I look I see something else. Well visualized and presented! |
Jan 1st |
| 87 |
Jan 25 |
Comment |
Happy New Year, Dale!
Thank you sharing this lovely creature who obviously has your attention!
I also like the three/four layers of color and texture ... nicely composed. |
Jan 1st |
| 87 |
Jan 25 |
Comment |
Happy New Year, Steve! The 16:9 ratio looks good here.
The scene is one that, for me, initiates a sense of solitude: where I imagine sitting or standing on this bluff without moving for several minutes to take in and contemplate the beauty that lays before me.
A wonderful example where less creates a sense of more, or engagement: where sometimes a less cluttered composition reveals more, and connects to us more deeply. And I must admit, the colors, in this example, awakens the senses, a B&W version would change the emotional attraction I described dramatically (differently).
Well visualized and presented! |
Jan 1st |
| 87 |
Jan 25 |
Comment |
Happy New Year, Chan! I absolutely love this composition!
This composition very much reminds of subjects Paul Strand enjoyed .. some abstract like "The White Fence" 1916. Here, too, your work creates a wonderful abstract quality while obviously each item is clearly identifiable. Technically, the B&W conversion could not be any better ... the tonal gamut serves the subject appropriately, in my opinion. Your visualization (via subject and cropping) plus the final rendering is one of your best, if you do not mind me saying so.
I often speak about "why" B&W photography is so compelling and this example is a perfect example how we initially take in the whole ... then back off and begin to enjoy the details: where a good Gestalt leads to photographic work that has "staying power" and lends itself to viewers' coming back to study it more. |
Jan 1st |
6 comments - 4 replies for Group 87
|
16 comments - 14 replies Total
|
