|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 2 |
Apr 18 |
Comment |
Hi Harry, I am Steve from Monochrome Group 32. This looks very good to me in monochrome. I think you have a nice juxtaposition between the fisher and the inserted moon. I also like the size you chose for the moon--it adds mood. I looked at your bio, and perhaps you once saw and remember the 1973 Truffaut film, "Day for Night," whose story included such a swap in one of its scenes, and hence its title. |
Apr 12th |
1 comment - 0 replies for Group 2
|
| 4 |
Apr 18 |
Comment |
Hi David. The really deep color is great, and you chose a blossom that was wide open. I would like to hear about your lighting setup--it looks like a single source fairly close to the flower? |
Apr 12th |
1 comment - 0 replies for Group 4
|
| 5 |
Apr 18 |
Comment |
Hi Oliver, this is lovely. How about describing your lighting setup? Also what focal length lens and how far from the flower? |
Apr 12th |
1 comment - 0 replies for Group 5
|
| 7 |
Apr 18 |
Comment |
Hi Rich, I am Steve from Monochrome group 32. Your building facade study catches the patterns of urban residences. For some history of this subject matter, I am going to quote from an article I wrote for my local photo club:
The following Library of Congress (LOC) website contains an extensive selection of images from Walker Evans's New York City Block photo shoot in the summer of 1938. There is also a detailed analysis of the shoot, including its sequencing and the time of day. Here is the link to the LOC website, and following is a very cogent quote from that website about the New York City Block photo shoot.
http://www.loc.gov/pictures/collection/fsa/docchap4.html
"Patterns of masonry, windows, fire escapes, and shadows transform the photographs of apartment house facades into geometric abstractions. In the 1930s, Evans often rendered buildings-for example, the rural churches he photographed in the South-as two-dimensional studies in form and texture, but he typically portrayed the entire facade. These photographs of tenement fronts recall his experiments of the 1920s, in which foreshortening, sharp-angled compositions, the use of strong shadows, and the exclusion of the roof and sidewalk heightened the degree of abstraction. The entire take also contains photographs that look up and down the block; in these, whole buildings are seen in their architectural context and the block itself is presented as the setting for human activity."
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Apr 12th |
 |
1 comment - 0 replies for Group 7
|
| 8 |
Apr 18 |
Comment |
Hello Amparo, I am Steve, visiting from monochrome group 32. I like how you managed to control that sunlit patch on your subject's cheek--very well done. Myself, I also like to make shots more formal with a pure black background like that--good choice. |
Apr 12th |
1 comment - 0 replies for Group 8
|
| 10 |
Apr 18 |
Comment |
Please tell us about the original shot, lens focal length and distance from the subject. Is it entirely natural light?
What software and effect did you use for the special effect?
What was your concept to drop the clothing off one side? |
Apr 12th |
1 comment - 0 replies for Group 10
|
| 30 |
Apr 18 |
Comment |
Hi Tom, I am Steve visiting from Monochrome Group 32. This is a nice action capture. I only sailed as a passenger a few times in the Finger Lakes of NY, but I remember, as you capture here, that the bow of the boat can dip lower than the level of the water into the bow wave hollow. |
Apr 13th |
1 comment - 0 replies for Group 30
|
| 31 |
Apr 18 |
Comment |
Hi Rashid, I am Steve visiting from neighboring Monochrome Group 32. I like your use of the large diffuse window light source for this portrait. I would not recommend cropping, as I feel the space around your subject conveys a sense of isolation in the post-op moment. Your subject's ambiguous expression contributes to the mood. |
Apr 13th |
1 comment - 0 replies for Group 31
|
| 32 |
Apr 18 |
Reply |
Thanks for the sample, Jennifer. Yes, that is about how I like it. I think I will work on the original high-density image and give it as a gift to our host in Rio.
Thanks to everyone for the encouragement. |
Apr 26th |
| 32 |
Apr 18 |
Reply |
Yes, the tiny lenses on the phones are amazing low-cost things. If there is ample light, you can get a good shot. I estimate the normal lens on my phone takes in about 90 degrees and the super-wide lens takes in around 135 degrees. It is rapidly becoming my lens of choice for such situations. It comes free with the phone, and that's hard to beat. |
Apr 26th |
| 32 |
Apr 18 |
Comment |
I agree with Jose on this.
But the project is very interesting, to document a place and the people there. One must have a project--it is the single thing as a photographer that I value the most--when I find my project. |
Apr 17th |
| 32 |
Apr 18 |
Comment |
The action shot is very good. You may have to take a few hundred shots at a polo match to get just the right shot of the rider swinging the raised mallet above their head and the shaft curving under the force. |
Apr 17th |
| 32 |
Apr 18 |
Comment |
Another thought. This has been a very vigorous conversation! And that's exactly what we should be having. I have been visiting a number of the other groups recently, and I have seen very many nothing conversations: no story by the photographer, just a few word of "love it" praise from colleagues with no reasons. By contrast, all the monochrome groups, including us, are very active with our conversations. Yea-us! |
Apr 17th |
| 32 |
Apr 18 |
Reply |
Yes, my suggestion would be to black out all backgrounds, not just the periphery. So maybe it's not worth the trouble. I like the idea well enough to suggest how I think it might work. If I had no idea, I would have said "interesting concept" and left it at that. |
Apr 10th |
| 32 |
Apr 18 |
Comment |
Meticulously composed, as usual. Just perfect. This should be the last image in the memorial gallery. |
Apr 9th |
| 32 |
Apr 18 |
Comment |
I think you did very, very well on this. The pose is great and very clear, showing the rider's control and the readiness of the team of horse and rider. The profile shot is perfect. I would not add clouds, which might draw attention away from the two subjects. |
Apr 9th |
| 32 |
Apr 18 |
Comment |
Yes, I think you are right, it does seem a bit dull. I don't know about adjusting contrast and structure more--you could give it a try. You have the essential eye perfect--so important for this particular bird. I have no problem with the upper left corner; I like seeing the full neck curve. |
Apr 9th |
| 32 |
Apr 18 |
Comment |
I like the subject matter in this image--you always choose great points of view. But I think there are two images here--the left 60%, and the right 40%. The left image, on a receding diagonal, could be shot at a bit lower angle. The right image is fine as is. |
Apr 9th |
| 32 |
Apr 18 |
Comment |
Diana, I think this sort of manipulation is very hard to get to come out well. I suggest trying some other things with this, as I think your original image is well-chosen. How about turning ALL foreground and background solid black (I find the background swirls interfering), so the only thing that gets swirled is the roundabout. Then I suggest that the swirl be a constant inward spiral, turning in only one direction. |
Apr 9th |
8 comments - 3 replies for Group 32
|
| 33 |
Apr 18 |
Comment |
Hi Elizabeth, I am Steve, visiting from Monochrome Group 32. This is a very calm scene. It would do very well in monochrome, maybe with a little more contrast. |
Apr 13th |
1 comment - 0 replies for Group 33
|
| 36 |
Apr 18 |
Comment |
Hello Richard, I am Steve, visiting from Monochrome Group 32. I remember these trees from the trip my wife and I took to Senegal a few years ago.
I think the cropping discussion has some subtleties. As you show it, the tree has some space around it, and the tree's relationship to its environment is emphasized, with no other trees nearby. The tighter cropping does still show the environment, but the emphasis, I think, shifts to the architecture of the tree itself. Both valid, depending on what you want to express. If this were in a show of tree photos, you might want to make this choice consciously for the entire show, or parts of the show. You actually do have a mini-show, with one of your colleagues presenting a tree as well this month (these coincidences happen all the time, in my group, too). |
Apr 13th |
1 comment - 0 replies for Group 36
|
| 39 |
Apr 18 |
Comment |
Hi Jerry, I am Steve, visiting from Monochrome Group 32. This is a great point of view. How high above the ground was the camera? When you retake this, how about trying several shots closer to the ground? If I were doing this, I would study how it would look about one foot off the ground, to the left of the rail (as you have), directly over the rail, and a bit to the right of the rail. |
Apr 13th |
1 comment - 0 replies for Group 39
|
| 42 |
Apr 18 |
Comment |
How about telling us if there was any post-processing, and the story of finding and taking the shot. It would be nice to see the original. |
Apr 13th |
1 comment - 0 replies for Group 42
|
| 43 |
Apr 18 |
Comment |
The photo is great, but what a wonder that you have a heartfelt story, although difficult, behind the photo. |
Apr 13th |
1 comment - 0 replies for Group 43
|
| 45 |
Apr 18 |
Reply |
Yes, that's getting at what I meant. How do you like that yourself? My idea is that the finished image should not announce "I am post-processed." |
Apr 16th |
| 45 |
Apr 18 |
Comment |
Your original has a distinction between the lighting in the sky and on the barn. The finished image is completely different, having full illumination in both areas, so it is not the same image. Don't get me wrong, I think the finished image is very, very attractive. I am wondering, however, how it would look if you compromised and brought up the brightness on the barn only halfway, and maintained some of the lighting differences of the original. |
Apr 13th |
1 comment - 1 reply for Group 45
|
| 47 |
Apr 18 |
Reply |
What lighting configuration would work for this sort of shot? |
Apr 13th |
0 comments - 1 reply for Group 47
|
| 62 |
Apr 18 |
Comment |
The tilt might be OK, conveying the motion as well? Try leveling the image and decide which you like. |
Apr 14th |
| 62 |
Apr 18 |
Comment |
Hi everyone, I am Steve from Monochrome Group 32. This is a most impressive discussion of composition. I must say that the monochrome groups tend that way, but this discussion is truly exemplary, both in constructive discussion and depth of analysis of the composition, purpose, and even the title of the photograph. I really enjoyed reading this, and your other discussions this month. |
Apr 14th |
2 comments - 0 replies for Group 62
|
| 63 |
Apr 18 |
Comment |
What is the actual size of the little statue, and how far were you from it? Maybe you can persuade Khai that this is a close-up. I see you used a macro lens. |
Apr 14th |
1 comment - 0 replies for Group 63
|
| 67 |
Apr 18 |
Reply |
Merci pour l'invitation Richard. Je visiterai votre groupe de temps en temps, avec l'aide de Google Translate.
--Steve |
Apr 15th |
| 67 |
Apr 18 |
Comment |
Good for you, shooting with the very capable G12. I shoot with a G10.
Moi, j'utilise une G10. |
Apr 14th |
1 comment - 1 reply for Group 67
|
| 70 |
Apr 18 |
Comment |
Been there! Charming spot. Nice that you have a windmill and church dome on the horizon.
I suggest bringing up the glow of the house lights only about half as much as you did. And maybe get rid entirely of that bright aqua spot in the lower left--is it a swimming pool? |
Apr 14th |
1 comment - 0 replies for Group 70
|
| 73 |
Apr 18 |
Comment |
I think the low point of view is good, also. The lower the better when you are emphasizing small plants. You can also try to avoid showing the lamppost and parking lot on the right and the building on the left with a slightly different location and angle. Or take them out in post-processing. |
Apr 15th |
1 comment - 0 replies for Group 73
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28 comments - 6 replies Total
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