|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 29 |
Jan 22 |
Comment |
Thanks for stopping by Judy. Yes, Gunter's version was cropped and that with the likelyhood of his using a different amount of haze the house would be clearer. If I were to process it again It would probably come out different. Less foreground would cut the red light reflection on the water and what's what I wanted.
Thanks for your thoughts. |
Jan 24th |
| 29 |
Jan 22 |
Reply |
Ahh. Excellent. Great to know you are in the states and enjoying. Maybe hasn't been prime time to visit CT but FL will be more to your liking. Take Care |
Jan 17th |
| 29 |
Jan 22 |
Reply |
Thanks Stephan. Great to hear from you. I was briefly thinking that Bora Bora might of been too close to Tongo Volcano. In the process I did see where island is closed off because of Covid. Hope that is outdated and you are able to work . Take Care. |
Jan 17th |
| 29 |
Jan 22 |
Comment |
Karen, you seem to always get nice images of big came at that Rocky Man NP. I see not problems as a result of the higher iso and with wildlife its always better to have faster shutter speed and DoF. I've gone back to images from my older Nikons and LrC does a fantastic job processing them. Not sure if you were shooting in continuous or not but I would of liked the image a little better if there was a little separation between the horn and the snowy rock. A very nice image. |
Jan 15th |
| 29 |
Jan 22 |
Comment |
Judy, I have to basically agree with above comments. Gunters' edits add the necessary contrast to the sky and the paths of the steams and just importantly darkens that sandy area mid frame. If I had no other options, I might even try replacing the sky with clouds that would bring the viewers eye into the back of the frame. The streams and current sky just aren't doing that for me. |
Jan 15th |
| 29 |
Jan 22 |
Comment |
Stephan, this is another very artistic underwater ballet. Unlike the color underwater images you shoot, this is more difficult to see body parts. 1 arm and a moving leg in the sand, just amazing how you come up with these poses. I like the light water above to give separation and perhaps indicate that it was still daylight . Just me?, but I think the model should have a visible head. Perhaps it's turned and has no light on it but can't discern a head near her right arm/hand. It certainly causes the view to stop and look and look again and again to resolve the mystery of A Stephan DeBelle Underwater Portrait. |
Jan 14th |
| 29 |
Jan 22 |
Comment |
Good thing we aren't comparing my rusty cars to this beauty. Immediate impact from the combination of the cars shape, colors and lines and how you reflected that all in the water below. Nice touche to light the inside of the car also and that red steering wheel follows thru beautifully in the lights, bumper and the reflection. A lot of work I'm thinking to make this so beautiful. I'll have to check out "MirrorLab" to see what creative tools I might be able to use. No suggested edits. Thanks for sharing. |
Jan 14th |
| 29 |
Jan 22 |
Comment |
A beautiful image Tim. Nice and sharp, well composed and a beautiful background that is completely non distracting. I Love the details in the seasoned paratrooper/flyers face and his coordination of the burgundy colors of Hat,Tie,and Sweater. You couldn't of chosen a better dressed gentlemen than this. His facial features just scream "A proud Serviceman". A tiny nit might be to clone out one of his hairs on his left collar before you have a print made of this wonderful photo. |
Jan 14th |
| 29 |
Jan 22 |
Comment |
Thanks Gunter for the good words. I can certainly approve of your edits. I liked the full frame because of the magenta and orange/red colors that existed on the far right as those colors were also projecting on the left also. |
Jan 14th |
7 comments - 2 replies for Group 29
|
| 62 |
Jan 22 |
Comment |
Well LuAnn you taught me something new. Going back to photog that I had Lightroom lessons with, Dave Kingham, and we were addressing tone curves for color. I have established presets based on using tone curves, that's the button with curves on the left of tone curve adjustment. I had to click the gray ie: BW curve button to find that linear window. I have not been using that feature when developing BW. I might of just forgotten it because his toning doesn't use contrast much at all. After I just went crazy with the strong contrast tone curve (making Flat to very bottom and to top on my subway car) the Contrast slider on the tone adjustments didn't move off of 0. Just another example of making edits differently with same or different results. Thank you. |
Jan 27th |
| 62 |
Jan 22 |
Comment |
Hi LuAnn. I have meant to be disrespectful with ignoring your comments. It's just that I can't reconstruct my settings. In the BW version I had Hilights@-49,white@-8 and nothing in any of the other settings, however, when I look at the colored version I have a whole bunch of settings with nothing matching yours. Then there were the unknown settings in Topaz but I probably did't make Hilights,shadows,or whites in Topaz, but I regularly used precise details micro and small @ 15-20 and sometimes precise contrast. I generally use tone curve in LrC but use the 4 sliders and don't remember every seeing a selection for Strong Contrast. Like we hear all the time there are multiple ways for users to come up with similar results in Ps & Lr. I like your version but I didn't find it necessary to download it and put it in Lr next to my version to see what the differences might be. I just accept that all versions are different and leave it there. I do think that you might of used less Radiance in Topaz than I did, but that's not important. As of now I plan on using a hi-contrast landscape for Feb.
Bob |
Jan 24th |
| 62 |
Jan 22 |
Reply |
I like the first image of your El Capitan climbers. Easy to identify climber from his/her gear. Love the colors. The 2nd image has no impact/color and viewer needs to find the climbers helmet to to separate him/her from the gear. |
Jan 17th |
| 62 |
Jan 22 |
Reply |
Emil, I like the newer image with the separation between the Walker and the larger tree in the background. Everything else looks are before. A Mysterious Walker. |
Jan 17th |
| 62 |
Jan 22 |
Reply |
Going well thank you,LuAnn. That's probably a first!!! Making a video of the feather dropping/Floating down. But you didn't tell us if you took the feather image from the video or used the video for training on how to drop the feather??? Since you probably are the inventor (or co-inventor as you husband deserves credit too) of this technique DD62 needs to bear witness to your success. I'm very glad you have found the perfect genre for the cold of Minnesota. Keep it up! I guess you are making us wait until next month to see your next work of art is? One of the benefits of our group is we all have our favorite genre(s) depending on the time of year and likes and dislikes but yet we all get to see and learn about each others works. Just imagine me compositing a smaller rock going thru the window of my subway train and the enlarged feather floating above it. Not quite minimalist, but!!! I have a calla lily image if you need to borrow one for the winter. Stay safe and warm. Bob |
Jan 4th |
| 62 |
Jan 22 |
Comment |
Another great image Israel. From a historical point of view, the "keeper" gives scale to those enormous doors and those of us that are unfamiliar could not even imagine their size. Talking about size, above the height of the keeper are those the keys/lock to the doors? I agree with Pete's edits cropping the left door and opening the shadows of the wall behind the keeper. The detail at the bottom of the door also speaks to the age of the door and church. Those of us in the US don't have any references to any items dating back to 1187 and your historical bit gives us that perspective. Thank you, |
Jan 3rd |
| 62 |
Jan 22 |
Reply |
Bunny, a really beautiful composition and toning with the possible exception of the sky, and I think some might suggest a darker sky. Many ways of doing that in LrC. Select sky, back & white filters or calibration and this in conjunction with the cloud would make the sky pop. Very Nice image. |
Jan 3rd |
| 62 |
Jan 22 |
Reply |
Leah, I like your composition and seeing the texture in the bricks as well as the way the patterns were created and the light shafts. You didn't give us the lens used and f-stop, but having greater depth of field as only the first row of the protruding bricks are sharp. This perhaps could of been corrected by a slower shutter speed or higher f-stop or higher iso. Your composition moves the viewers eyes to the bottom right, but that area is totally lacking focus and loses the impact you were creating. |
Jan 3rd |
| 62 |
Jan 22 |
Comment |
Emil, a perfect situation to add the human element and as luck would have it you were ready (except for the shutter speed). You did a fantastic job of hand holding the camera steady at â…› sec. With these new cameras you might want to move the iso up to 400 when hunting for an image or quickly changing the f-stop to f8 or 5.6 as that 24 mm lens will have plenty DOF and noise will not be an issue. I bet you know these things and were just caught off guard by the appearance of the walker and beautiful curves from the path. I agree that there is no need to show the walkers facial features. A minor nit but because film is cheap I would also have continuous hi speed advance and that would of given you an image or 2 that does not merge the walker with the large tree behind. Great seeing and making a usable image. |
Jan 3rd |
| 62 |
Jan 22 |
Reply |
LuAnn, my impression on first seeing your image was wow, now she's dropping feathers in sharp focus (yes a slight area out of focus so you present the appearance of motion). No need to tell of a composite, as you nailed the feather perfectly falling. I'm not a flash or tabletop person so you're not likely to see anything remotely close from me, but I can appreciate the work involved and the creative work you have moved into. I would never have given a couple of hours or days thought to putting a rock and floating feather into the same composition. An excellent job LuAnn. |
Jan 3rd |
| 62 |
Jan 22 |
Comment |
Pete, I too agree with Emil's darkening of the face and hand, however, I would like you to consider darkening the hot spot (left side) on top of his head just a little. It doesn't look like Emil's great edits to the face touched the top of the head. I Love the facial expression and the scruff detail on his face. As I think back about your images, I'm thinking you are a Rock Star street photographer. Just two many coincidences as you happened to be In the area. Using the long lens also is a hallmark of getting the images without disturbing the scene. Well done. |
Jan 3rd |
| 62 |
Jan 22 |
Reply |
Thanks Pete for stopping by early in the month and your positive words. |
Jan 3rd |
| 62 |
Jan 22 |
Comment |
Thanks Bunny for your positive words. Yes, the Swirl filter in Topaz is hid as one of the "Motion" filters. I did use the Ps Twirl filter, but I haven't found a friendly way to combine.. masks of the flower and then creating the Swirl which makes a non masked (or another masked) flower and move that mask in swirls, spins or others in order to get the effect I wanted.
I think of forgetting as more of a senior citizen issue vs a great artist. |
Jan 3rd |
6 comments - 7 replies for Group 62
|
13 comments - 9 replies Total
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