|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 1 |
Jul 18 |
Comment |
One more thought. I also try to connect our photographic compositions with prior artistic compositions. Your project makes me think of hokusai's thirty-six views of Mount Fuji in which he showed the mountain from many angles and with many local environments. |
Jul 4th |
| 1 |
Jul 18 |
Comment |
Hi Kathryn, you did a great job on setting a project for yourself and then executing it. This is a good lesson for all of us. One question. Did you position the heads of the telescopes for this shot? |
Jul 3rd |
2 comments - 0 replies for Group 1
|
| 5 |
Jul 18 |
Comment |
I agree about the pain business, but the saying's negative inversion is very current: "no pain, no gain." |
Jul 3rd |
| 5 |
Jul 18 |
Comment |
Great shot, Oliver! I think the white spot on his ear is actually another decoration. I looked up the Latin on the woman's neck. I think it's fortitudo per dolorem. Strength through pain. |
Jul 3rd |
| 5 |
Jul 18 |
Comment |
Compositionally, how would it be if the bottom row were the brighter row? Just wondering. |
Jul 3rd |
| 5 |
Jul 18 |
Comment |
This is really stunning, Barbara. The bottom row of three panels has the perspective of a folding screen and so does the top row of three panels but put together they twist the brain a little bit because their perspectives don't match. This is an extremely interesting "op art" result. |
Jul 3rd |
4 comments - 0 replies for Group 5
|
| 7 |
Jul 18 |
Comment |
This is a lovely shot of Morning Light. In particular you did a great job of enhancing the color with restraint. So the final image does not announce itself as being post processed. |
Jul 4th |
| 7 |
Jul 18 |
Comment |
Blue Sky light on a Blue Table. Great combination and lovely composition. I adore images made with this kind of light source. I presume it was an open doorway or open window? Excellent hint You Gave about the choice of shooting distance and perspective. |
Jul 4th |
2 comments - 0 replies for Group 7
|
| 8 |
Jul 18 |
Comment |
Dear Mr. Sukumar,
I am very sorry to learn of your loss, which you expressed so well for all of us in your photograph and beautiful poem. Thich Nhat Hanh always tells us that when we think of someone who is gone, then they are with us. |
Jul 4th |
1 comment - 0 replies for Group 8
|
| 10 |
Jul 18 |
Comment |
Door and Window shots in older cities are charming and this one is too with its iron work and nice colors. Usually they look better if you straighten out the perspective in Photoshop or another post processor. I could go either way on the drain pipe but suggest removing a small object and wire on the lower left. |
Jul 10th |
1 comment - 0 replies for Group 10
|
| 11 |
Jul 18 |
Reply |
Thank you, Sharron, for posting that extra image. It is also wonderful. |
Jul 5th |
| 11 |
Jul 18 |
Comment |
Most of our colleagues prefer focal points in images like this, like the child with a hoop. I like an alternative approach, expressing emptiness and tranquility. Consider how this would look with no people and the row of beehives (?) removed. This is a minority opinion. |
Jul 4th |
1 comment - 1 reply for Group 11
|
| 13 |
Jul 18 |
Comment |
The museum building has nice lines and interesting Shadows at the time of day you were there. I suggest you might have zoomed in for the take to exclude the street in front and prominent taxi cab. Or cross the street and use a wider lens. |
Jul 4th |
1 comment - 0 replies for Group 13
|
| 14 |
Jul 18 |
Reply |
I'm happy to participate, and I'm glad you like the results. Come visit us in group 32 sometime. |
Jul 13th |
| 14 |
Jul 18 |
Comment |
I am visiting from monochrome group 32. I know you worked on the color of this, but it would also render very well as a monochrome portrait. |
Jul 12th |
1 comment - 1 reply for Group 14
|
| 17 |
Jul 18 |
Comment |
This is a perfect shot a wonderful family event. I married a Turkish woman and our son married a Sri Lankan woman. In our family also daily surprise is the norm. |
Jul 4th |
1 comment - 0 replies for Group 17
|
| 19 |
Jul 18 |
Comment |
Yes, including the brickwork above the door is definitely better. Very nice discussion you have all had to work out ideas for this image! |
Jul 13th |
| 19 |
Jul 18 |
Comment |
My take on this is that the focus of attention is the door and those wonderful shadows from the grating under it. Here is a suggested crop. |
Jul 4th |
 |
2 comments - 0 replies for Group 19
|
| 20 |
Jul 18 |
Reply |
I think I get it. Thanks so much for the explanations. |
Jul 16th |
| 20 |
Jul 18 |
Reply |
Thanks for the explanation. One more question please. How do you control how sharp or diffuse the light source is? And for your particular image, how diffuse was your light source? From the image it looked to me like your light source was a large open window! |
Jul 16th |
| 20 |
Jul 18 |
Reply |
I don't know much about lights. Are they flashes or steady lights? How are they triggered? Are they sharp or soft lights? Thanks for helping out a novice. |
Jul 13th |
| 20 |
Jul 18 |
Comment |
This is a lovely and successful image. Please tell us some details about how you managed the lightning, because that seems to contribute greatly to the composition. |
Jul 4th |
1 comment - 3 replies for Group 20
|
| 22 |
Jul 18 |
Comment |
Hi, I am visiting from monochrome group 32. I like spaciousness in images so I like your chosen amount of sky. The detail in the barn is great but it loses the directional light from the original. Consider darkening the front of the barn slightly to restore directionality of lighting maybe also lightening the left side and roof. |
Jul 14th |
| 22 |
Jul 18 |
Comment |
Hi, I am Steve, visiting from Monochrome Group 32. This is very nicely composed. It might also look good in monochrome. |
Jul 4th |
2 comments - 0 replies for Group 22
|
| 25 |
Jul 18 |
Comment |
I think the large shadowy section on the left with not much in the foreground is a problem. I suggest that the right 50% of this is a fine image. Even so, my eye wants to see the horizon a bit, but you may have a good reason for not including it in the shot. |
Jul 14th |
| 25 |
Jul 18 |
Comment |
You instruct us all with this one. It looks like one 15th of a second gives a great result for moving water. |
Jul 14th |
2 comments - 0 replies for Group 25
|
| 30 |
Jul 18 |
Comment |
Yes, Robert has that more clear than I have said. Also you can add a zoom effect in post processing if you want to experiment with that. |
Jul 5th |
| 30 |
Jul 18 |
Comment |
You don't get motion blur much when the subject is coming straight at you. Also you don't show the moving feet on the pedals. A side shot with no panning might have motion blur. Your shot is very clearly an action shot and doesn't need the motion blur. Well done. |
Jul 5th |
| 30 |
Jul 18 |
Comment |
The iconic original photograph was taken in Times Square on V-J Day by Alfred Eisenstaedt, Life Magazine photographer with 90 Life covers to his credit. |
Jul 5th |
 |
3 comments - 0 replies for Group 30
|
| 32 |
Jul 18 |
Reply |
What a great idea. No reason not to capture a short video of such a shot. We can always send it around to each other by email as a supplement. I will remember that for next time. |
Jul 29th |
| 32 |
Jul 18 |
Comment |
I totally agree with Jennifer and Diana. It's all about our personal experience of seeing and feeling, and shooting what speaks to our own hearts. |
Jul 29th |
| 32 |
Jul 18 |
Reply |
Thank you, Janice. All good suggestions. |
Jul 17th |
| 32 |
Jul 18 |
Reply |
Hi Audrey, thanks for dropping by! |
Jul 16th |
| 32 |
Jul 18 |
Reply |
Hi Larry, thanks for dropping by! |
Jul 16th |
| 32 |
Jul 18 |
Comment |
Thanks to everyone for your comments and instruction. Thanks to the visitors from other groups. Nice to have you dropping by. |
Jul 16th |
| 32 |
Jul 18 |
Comment |
You converted this from a nature shot to a formal studio portrait with a black background. Quite an impressive change. |
Jul 16th |
| 32 |
Jul 18 |
Reply |
You have done everything right that is possible to turn this into a competitive image. Let's track this one and you report on how well it does later in competition. |
Jul 16th |
| 32 |
Jul 18 |
Reply |
Yes, Tom has given me the general approach and left it for me to do the careful work on all parts of the image. You have often recommended lightening faces so I kept that in mind and did that for this image, and yes I agree it could stand a little more lightning even so. |
Jul 16th |
| 32 |
Jul 18 |
Comment |
This is a really great shot Jennifer. The iridescence of the feathers comes through in the monochrome. How about telling us the story of how you shot it? Is it in the wild or in captivity? |
Jul 13th |
| 32 |
Jul 18 |
Comment |
What to do then? Get creative? Copy the sorrowful bird onto the top of a tombstone? Make a dozen copies of it and make two rows of six mourning Birds on a path to a funeral? This makes me think a little bit of Edgar Allan Poe's poem The Raven. |
Jul 13th |
| 32 |
Jul 18 |
Comment |
You are working with a complicated concept. Here are my thoughts, peculiar to me. The more this looks like a nature shot the less it looks like an abstract expression of Sorrow. Therefore I suggest a 100% black silhouette and complete elimination of the natural environment. |
Jul 13th |
| 32 |
Jul 18 |
Comment |
Michael, I faced the exact same problem this month with the image I submitted. Have a look at what Tom did to instruct me. I think it equally applies to your situation. |
Jul 11th |
| 32 |
Jul 18 |
Comment |
Lighting comment 4. Tom, don't you have a studio lighting set-up? What about my lighting comments? Do they hold up in your view? |
Jul 11th |
| 32 |
Jul 18 |
Comment |
Lighting comment 3. Have a look at the portrait photos of yousuf karsh the Canadian Master portrait artist. |
Jul 11th |
| 32 |
Jul 18 |
Comment |
Lighting comments 2. I don't understand these Studio situations where the object of the lighting is to provide even lighting over the entire face but does not harness the dramatic power of light and Shadow on a face at least using a main light from one side and an optional weaker fill light from the other side. |
Jul 11th |
| 32 |
Jul 18 |
Comment |
Lighting comment one. I think you are right that a spotlight on the back of the head would have provided Brilliant Highlights on that nice head of hair. |
Jul 11th |
| 32 |
Jul 18 |
Reply |
Nice of you to ask about the title, but no special title is required with this kind of shot because there is no backstory that needs explaining to understand the image. Almost at random I think of titles like Wendy, masked woman, Cinderella at 30. |
Jul 11th |
| 32 |
Jul 18 |
Comment |
Your decisions about getting rid of the bare arms and shoulders and adding hair over the edge of the mask are perfect and really contribute to the composition. Closely related, the close cropping is very good. More later about the lighting. |
Jul 11th |
| 32 |
Jul 18 |
Reply |
That is so helpful Tom. Thanks so much for the hint. You always have good ideas. I will try to be more conscious of depth of field next time, whereas I usually only think about it when I'm shooting flowers. Obviously it applies here. |
Jul 7th |
| 32 |
Jul 18 |
Reply |
Thanks Tom, the low perspective idea is a good hint. |
Jul 3rd |
| 32 |
Jul 18 |
Comment |
Hi Tom. I have a couple of questions about this shot. First of all how far were you from the car and what was the focal length of your lens? Second I'm interested in your choice of shooting the front half of the car and not the full length shot of the car. What was your thought process as you decided on this composition? |
Jul 3rd |
| 32 |
Jul 18 |
Comment |
Now that I'm looking at my own shot and trying to look at it with your eyes I think I should get rid of the man's amp wire and the edge of his cart with electronic equipment on it. My other questions about what to do with the background still stand and I would appreciate your advice. Thanks. |
Jul 3rd |
14 comments - 9 replies for Group 32
|
| 33 |
Jul 18 |
Comment |
This is a wonderful shot. Thanks especially for the detailed explanation of shooting at this time of year and the names of all the peaks. Your story made me feel like I was there with you. |
Jul 6th |
1 comment - 0 replies for Group 33
|
| 36 |
Jul 18 |
Comment |
I am visiting from monochrome group 32. You showed admirable restraint by not overdramatizing the contrast and therefore keeping the soft mood of the shot! Consider joining one of the monochrome groups as well as this one, or come visit the several monochrome groups from time to time. |
Jul 17th |
| 36 |
Jul 18 |
Comment |
Bill, thanks for taking us all to this beautiful location and acquainting us with Ms Jones' work. I especially like the play of shadows in the interior, definitely a FLW concept of bringing the outdoors indoors. |
Jul 6th |
2 comments - 0 replies for Group 36
|
| 40 |
Jul 18 |
Comment |
I like the dramatic contrast between the vertical buildings and horizontal bridge. I lived in Taipei in 1988-89. I never visited Taichuang but now wish I had. |
Jul 17th |
1 comment - 0 replies for Group 40
|
| 44 |
Jul 18 |
Comment |
Everyone should remember that Ansel Adams dealt with this basic view in his famous Snake River and Grand Tetons monochrome shot. Your treatment of this View in color is absolutely stunning! |
Jul 17th |
1 comment - 0 replies for Group 44
|
| 48 |
Jul 18 |
Reply |
Now that I've seen the monochrome I think it's okay, but the color is better with its gentle shade variations. |
Jul 24th |
| 48 |
Jul 18 |
Comment |
I am visiting from Monochrome Group 32. I think this would look equally good in monochrome. |
Jul 6th |
1 comment - 1 reply for Group 48
|
| 50 |
Jul 18 |
Comment |
I am visiting from monochrome group 32. I just have to tell you how much I like this shot. The interplay of the gratings and the Shadows they cast are just wonderful. |
Jul 6th |
1 comment - 0 replies for Group 50
|
| 54 |
Jul 18 |
Comment |
This was very nicely done! The presence of the eyeball sets aside concerns about the merging of the two natural scenes. For a historical note on eyeball images (in cinema), see the 1929 film Un Chien Andalou by Luis Bunuel and Salvador Dali. It's a real eye-opener. |
Jul 24th |
1 comment - 0 replies for Group 54
|
| 55 |
Jul 18 |
Comment |
Does everyone know the poem, "The Road Not Taken" by Robert Frost? This is a fine expression of that concept. |
Jul 7th |
1 comment - 0 replies for Group 55
|
| 57 |
Jul 18 |
Comment |
How about filling the frame with a close-up of a man or woman's face with dreamy eyes and a subtle smile while holding that delicious-looking cup of coffee to their lips? |
Jul 24th |
1 comment - 0 replies for Group 57
|
| 64 |
Jul 18 |
Reply |
Does that mean the Ansel Adams image had the cars "ghosted" away because they were moving in a very long exposure? |
Jul 9th |
| 64 |
Jul 18 |
Comment |
The Arc de Triomphe has 12 avenues or streets converging on it, and that grand traffic circle is named L'Etoile--The Star. When my wife and I were once being driven around it by a friend, he complained, "L'Etoile ne marche pas," The Star doesn't move. |
Jul 8th |
1 comment - 1 reply for Group 64
|
| 69 |
Jul 18 |
Comment |
It's nice to see an image from the Bay of Fundy. I remember well my visit there many years ago. Was this tree alive or dead? |
Jul 24th |
1 comment - 0 replies for Group 69
|
| 73 |
Jul 18 |
Comment |
Nice arrangement of shapes, especially the reflection of one tower on the face of another Tower. Good hint about stepping under the overhang to avoid the direct sunlight. I lived in Hopkins in the late fifties and remember the Foshay Tower. I also shot with a Minolta SRT 101. |
Jul 8th |
1 comment - 0 replies for Group 73
|
| 74 |
Jul 18 |
Comment |
Do please send me a personal email. I'm interested in your collection of photo show brochures, and perhaps supporting it from the USA. |
Jul 24th |
| 74 |
Jul 18 |
Reply |
Do please send me a personal email. I'm interested in your collection of photo show brochures, and perhaps supporting you from the USA. |
Jul 24th |
| 74 |
Jul 18 |
Reply |
Do please send me a personal email. I am interested in your photo exhibit brochure collection and perhaps supporting you from the USA. |
Jul 24th |
| 74 |
Jul 18 |
Reply |
Udayan, thanks for asking. I don't have a website for my photographs, but I would be happy to share some with you on a personal basis. I won't give my email address here publicly but if you write to Barbara Miller I will tell her she can give my email address to you and I would be delighted to contact you. |
Jul 9th |
| 74 |
Jul 18 |
Reply |
I should add that I have seen that ghat, although not up close as you have. You captured a wonderful moment and told us a perfect story in your narrative, which greatly enhances our understanding of the image. Well done. |
Jul 9th |
| 74 |
Jul 18 |
Comment |
I am visiting from monochrome group 32. I like your original much better in all respects. More space for the kite flying. Color intensity not helping with the story. You might consider trying it in monochrome. |
Jul 8th |
2 comments - 4 replies for Group 74
|
| 75 |
Jul 18 |
Comment |
Hi, I'm visiting from monochrome group 32. This is interesting subject matter. If you will be back at the same site try standing right in the ruin near the left end. You can also consider making this a monochrome composition. |
Jul 24th |
| 75 |
Jul 18 |
Comment |
Gosh, I feel so verified! |
Jul 9th |
| 75 |
Jul 18 |
Comment |
I like very much that you have chosen to keep the human element very small compared to the Natural element. To my eye, however, I like the colors better in your original. |
Jul 8th |
3 comments - 0 replies for Group 75
|
| 76 |
Jul 18 |
Comment |
Hi Tyler, I am visiting from monochrome group 32. I had a nice exchange this month with your grandfather in his group. Was that your dad or uncle that he photographed? Your image has a fine concept. Keep on looking for ways to express that concept! |
Jul 24th |
1 comment - 0 replies for Group 76
|
57 comments - 20 replies Total
|
