|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 1 |
Dec 18 |
Comment |
I love these kinds of shots, and do a lot of them myself. Great idea to include the finished sweater, done with the very yarn in the upper left bin, I think. The array of colors is wonderful.
|
Dec 5th |
1 comment - 0 replies for Group 1
|
| 4 |
Dec 18 |
Comment |
Klimt applied gold leaf to many of his canvases to get his effects, and was totally unique in the world of modern art in what he created. See the 2015 film with Helen Mirren for the story of "Woman in Gold." Here is a low-res image from the internet.
You have definitely found another unique way to obtain a fascinating textural image.
"The Kiss" is so popular that it is almost a cliche, because of the subject matter, but of course cliches become cliches because the are at first so original. |
Dec 3rd |
 |
1 comment - 0 replies for Group 4
|
| 11 |
Dec 18 |
Comment |
Very successful shot, restricting the color to that great stained glass. The slight color tints in the floor and walls are slightly distracting, and you did well to remove them. On the other hand, I like those three spots of bright green, all conveniently in bright sunlight. Consider adding them back in color??? |
Dec 13th |
1 comment - 0 replies for Group 11
|
| 23 |
Dec 18 |
Comment |
This is a stunning shot. I especially like the way Graham emerges from pure black (I really like a lot of pure black), with some of the edges of his shoulder and arm only implied.
I have just one question. Did you take any shots with the light making a "Rembrandt triangle" under his right eye? If so, can we see one of those for discussion? |
Dec 4th |
1 comment - 0 replies for Group 23
|
| 31 |
Dec 18 |
Comment |
Very interesting composition, with fruits in the basket, out of the basket, and even off the cutting board, and a variety of light and dark tones in the fruits. I like the textures of the basket weave, the lining cloth, the cutting board, the fruit surfaces.
My one question is about the lighting. Is your speed-lite the only light source? Is it off-camera, and is it diffuse? Can you position it further left to get a little more roundness of shadows on the fruits? I am not quite sure I know what I am talking about--does that make sense? |
Dec 5th |
1 comment - 0 replies for Group 31
|
| 32 |
Dec 18 |
Comment |
I love them all. They are so good and so interesting. Thanks so much for showing them. For the group, let's keep this in mind for something to do together when the situation arises--to coax each other out to show a body of work in the discussion. |
Dec 21st |
| 32 |
Dec 18 |
Reply |
The solution to the puzzle is posted in Group 32. Thanks for visiting, John. |
Dec 20th |
| 32 |
Dec 18 |
Reply |
The solution to the puzzle is posted in Group 32. Thanks for visiting, Mark. |
Dec 20th |
| 32 |
Dec 18 |
Comment |
Close enough, Diana! It is a cyclist. I asked a teenager who was riding around the area to ride past while I took a long exposure. The woman in the image was "ghosted" because she moved, mostly in two positions, during the exposure. The cyclist kept moving the whole time, so was never in any one spot long enough to record an image. But the headlamp of the cycle blinked rapidly and produced the string of mystery lights. I have been told that there is a famous Ansel Adams shot of the Golden Gate Bridge, with no cars on the bridge--because the exposure was for six minutes, thereby "ghosting out" all the moving cars. |
Dec 19th |
| 32 |
Dec 18 |
Comment |
Oh, yes, Janice, let's make this as interesting as we want to. Please do show more winter abstracts right now, so we can have some fun and interest looking at them! |
Dec 15th |
| 32 |
Dec 18 |
Comment |
Ah, this is the season for icy pictures.
Very nice ice, if you don't mind me saying it that way.
I like the highlights on the ice, and the motion in the water. |
Dec 13th |
| 32 |
Dec 18 |
Comment |
This is nicely composed, Tom. Is there any way to make the monochrome smoke stand out from the trees the way it does in color? |
Dec 11th |
| 32 |
Dec 18 |
Comment |
I like the juxtaposition of the bird on a sign, especially since the peregrine is so famous for its power dives. Perfectly sharp, too. |
Dec 11th |
| 32 |
Dec 18 |
Comment |
This is a nice shot, Michael. I notice you chose to keep the perspective of the upward-tapering buildings, presumably to emphasize their soaring aspect? The curved section must be the stairwell? Architecturally attractive to shoot the curved component.
As to the brick patterns, I don't see anything disturbing. Are you seeing the natural variations that make some of the mortar lines lighter in some areas than the others. I think that just happens as a result of variations in the bricklayers' work. |
Dec 9th |
| 32 |
Dec 18 |
Reply |
Oh my, yes, you chose a much better shot in all respects! |
Dec 3rd |
| 32 |
Dec 18 |
Comment |
This is a view in the direction of the Georgetown neighborhood as seen from the terrace of the Kennedy Center for the Performing Arts in Washington, DC. |
Dec 3rd |
| 32 |
Dec 18 |
Comment |
I see you have done a lot with this. First off, since I like a lot of black in images, I don't think you went too far on his shoulder--you let his fist emerge out of darkness, and I like that--there is no doubt that his shirt is still there. The right side of Randy's face is now nicely shadowed--very good job of that and a great improvement over the color shot. Interesting that this shot is better that a direct look--how about showing us that for the discussion. One last point--I see a single hair arcing off to the right--do you like or dislike that? |
Dec 3rd |
9 comments - 3 replies for Group 32
|
| 36 |
Dec 18 |
Comment |
What a dramatic shot of a rainbow BELOW your point of view. Nice opportunity. Scientifically, a rainbow in the sky is always an arc whose center is on a line from the sun through your head. So the sun must have been fairly high to see a rainbow this low in the sky. Of course you had to have the water vapor in the air for the rainbow to form, but that does not govern the viewpoint of the rainbow. |
Dec 8th |
1 comment - 0 replies for Group 36
|
| 43 |
Dec 18 |
Comment |
The discussion about whether or not to have a person (or other focal point) in such an image rages throughout our groups. Most of the time, people prefer a focal point. Myself, I almost always prefer such shots to be empty of people, like Linda. My reasons have to do with the idea of showing only the scene or the architecture, and also to express peace, tranquility, or loneliness. Take your pick, and choose your composition to suit your own taste. After all, it's your memory. |
Dec 8th |
| 43 |
Dec 18 |
Comment |
The dramatic low point of view makes this REALLY interesting. Well done! |
Dec 8th |
| 43 |
Dec 18 |
Comment |
Great composition through the arch, with good detail in the stones and in the open green area beyond, and a great sky. Just one question--what is the story? That is, what is the name of the ruin and its period of history? Are you familiar with the 1934 film, "Man of Aran?" Here is the synopsis from the Internet Movie DataBase (IMDB): "In this blend of documentary and fictional narrative from pioneering filmmaker Robert Flaherty, the everyday trials of life on Ireland's unforgiving Aran Islands are captured with attention to naturalistic beauty and historical detail." |
Dec 5th |
3 comments - 0 replies for Group 43
|
| 48 |
Dec 18 |
Comment |
We would all love to hear the story of where you were to take this picture (and remember to add your bio to the website).
A running horse picture is always exciting. IMHO, you just need to get in closer to the action--perhaps you original has sufficient pixels to do more of a crop. What do you think? |
Dec 8th |
 |
| 48 |
Dec 18 |
Comment |
This is an intriguing shot and a fine start to your night photography. It makes me want to go out and try the same thing in my neighborhood. Question: is the light coming from a single downward-facing street light above and to the right of the tree? I have that situation all over my neighborhood, so I could explore similar shots outside my front door. |
Dec 5th |
2 comments - 0 replies for Group 48
|
| 62 |
Dec 18 |
Comment |
I meant to remove ALL the people, but I think Hattie means to keep just the most prominent one. That's a good possibility, also--one person, back turned to the camera, alone in a grungy subway station. |
Dec 14th |
| 62 |
Dec 18 |
Comment |
Hi Paul, I am visiting from Monochrome Group 32. I think this is a fine shot, very well expressing the isolation down in the subway.
I got the A train reference, even though I don't know the music, it's such a popular expression in the language.
Following Oliver's suggestion to remove the bicycle, I would suggest further to remove ALL the people, using perhaps some content-aware post-processor. This is a personal preference I have for having no human figures in architectural shots expressing loneliness or isolation. I am not alone in this preference, but I am in a minority. What do you think? |
Dec 9th |
2 comments - 0 replies for Group 62
|
| 64 |
Dec 18 |
Comment |
So another thought, this time on the plus side: the groom's jacket is buttoned! And his white shirt sleeve show nicely beyond the end of his jacket sleeve. |
Dec 14th |
| 64 |
Dec 18 |
Comment |
It's really hard to get such a portrait perfect. The more we look, the more we see tiny touches to watch out for. I had not spotted the bow tie--good eye, John. Another thought--will these young people wear wedding rings? If so, I do not see them--or is this a "before" shot? |
Dec 14th |
| 64 |
Dec 18 |
Comment |
On looking harder, I see that she is resting her hand on his knee. For balance, it would be nice if his arm around her waist was evident by showing his fingertips on her right side. |
Dec 14th |
| 64 |
Dec 18 |
Comment |
Nice shot, photographically and culturally! When my wife and I traveled to Angkor Wat, we learned that the time in the monastery for young men was part of their education, and could be for as little as a year or even a month. Evidently, some took their time "inside" not too seriously--see the attached shot I got out behind a monastery rear door. |
Dec 10th |
 |
| 64 |
Dec 18 |
Comment |
I agree with Stan's comments. I think the metaphor of having the couple sheltered under a grand tree (perhaps a "tree of life") is very apt. Something to watch out for in the future--the groom has neglected to wear calf-high socks, so his bare leg is showing. Suggest you advise on this in advance if you can, or pose him to take this into account (also maybe avoid a prominent shot of his shoe). He could informally hold her floral bouquet to cover all of that. The couple's mutual loving looks at each other is perfect. |
Dec 10th |
5 comments - 0 replies for Group 64
|
| 78 |
Dec 18 |
Reply |
No, Brenda, yours is just fine. Pictoralism is long gone, and I really like your stunning and sharp image. |
Dec 9th |
| 78 |
Dec 18 |
Comment |
Nearly 100 years later, the contemporary German photographer, Thomas Struth, shot deserted streets in New York, like this. |
Dec 8th |
 |
| 78 |
Dec 18 |
Comment |
Here is Edward Steichen's famous shot of the Flatiron building, coming from the early 20th century pictoralism period. |
Dec 8th |
 |
| 78 |
Dec 18 |
Comment |
I like this just the way it is, especially the present level of brightness.
Personally, I prefer architectural scenes to be fairly free of people, so this view is excellent.
I would like to add that when you photograph the streets of New York City (and I suppose many other great cities of the world), you are entering into a long discussion with at least a hundred years of prior photographers of sometimes the exact same scenes. Their expressive goals may vary considerably. I will soon follow this post with a few NYC images from famous past photographers. |
Dec 8th |
3 comments - 1 reply for Group 78
|
| 82 |
Dec 18 |
Reply |
Ah, I see, that's a good idea to keep the street context. Thanks for the story--it's really interesting to me because my wife and I are signing up today for an educational tour to Cuba by our local community college, to take place in March, and Trinidad is on the itinerary. I will look for that woman on the streets! |
Dec 9th |
| 82 |
Dec 18 |
Comment |
This is really beautiful. Please tell us the technical data, including distance from the camera, and I am especially interested for you to describe your lighting in detail. Thanks. |
Dec 8th |
| 82 |
Dec 18 |
Comment |
Very nice portrait shot, in the street? Please tell us the story of where you are, and how you interacted with your subject (remember to put your bio on the website).
The background is a little distracting, but you got it blurred beyond the depth of field, so that helps. My taste runs to pure black backgrounds, so you could consider blacking out the background to make this a more formal portrait, since the context is probably not part of the story. |
Dec 8th |
2 comments - 1 reply for Group 82
|
| 83 |
Dec 18 |
Reply |
More recently, Robert Mapplethorpe did floral shots like this. |
Dec 14th |
| 83 |
Dec 18 |
Comment |
Very stunning flower shot. Would you consider a square format and a uniform black, or nearly pure black, background? |
Dec 3rd |
| 83 |
Dec 18 |
Comment |
I presume this is the main castle of the old town. Do please tell us exactly what building this is, and even finer detail, like "kitchen entrance," "second story balcony," etc. If you care to share your personal story of your visit, it is always interesting to hear.
I like very much your choice of viewpoint, down an outdoor corridor, with no human in the image. The side-lighting is excellent. A fine composition.
By all means keep the beams, as they are integral to this period of architecture. |
Dec 3rd |
2 comments - 1 reply for Group 83
|
34 comments - 6 replies Total
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