|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 19 |
Mar 19 |
Comment |
Beautiful shot. My family visited there in 1988. It's nice to see it again. |
Mar 28th |
1 comment - 0 replies for Group 19
|
| 22 |
Mar 19 |
Comment |
I want to point out that "perspective correction" is not always desirable. The perspective of looking up at a tall building is the same in the camera as in your eye. If you look at the base of this building, let's say it subtends 60 degrees of your view, and since the top is further away it subtends 30 degrees of your view. So, you get in the image what you actually see: a wider base and a narrower top. This works very well if you want to express the soaring nature of a tall building. If you are selling real estate, however, you may choose to "correct" the perspective because viewers are more comfortable with parallel vertical lines in the image. Just as you are not bothered by the left and right perspectives going out to vanishing points, so does the vertical perspective go out to a vanishing point. The building is not leaning back, it is diminishing to a vertical vanishing point. Too much perspective correction will render the building into an unnatural point of view, as if you are shooting from a point in mid-air halfway into the sky, opposite the middle level of the building. |
Mar 27th |
1 comment - 0 replies for Group 22
|
| 32 |
Mar 19 |
Reply |
Hi Beverly, thanks for visiting. Nice to hear from you. |
Mar 19th |
| 32 |
Mar 19 |
Reply |
Thank you, Diana, that is a good idea. I have never done that, but this would be a good practice image to learn that. What are the basic steps in PS? |
Mar 19th |
| 32 |
Mar 19 |
Reply |
I see, yes, I think you are right about that. |
Mar 19th |
| 32 |
Mar 19 |
Comment |
This is certainly a tough assignment you gave yourself. I don't think it's too busy, but somewhat differently, I find it confusing--I can't decode the geometry. Is that you in the center, shooting upwards at the ceiling? I also prefer the sharpness of the original. |
Mar 18th |
| 32 |
Mar 19 |
Comment |
I like the brightness level just as it is, Tom, especially the image in the wall, as it needs to be darker. Much better without the bright yellow. We visit this site often, always taking visitors there, since we live in Bethesda--it is always emotional, even though we never directly experienced the war. |
Mar 18th |
| 32 |
Mar 19 |
Comment |
Thanks to you both for the work you did on this. It is very interesting an helpful. |
Mar 18th |
| 32 |
Mar 19 |
Comment |
Showing 1/4 of the blossom is unique. I don't know how to react. Perhaps if the contrasty light at the top were on the entire flower? Why do I see a grainy texture--that is a bit unusual. Please tell us the story of the shooting and post-processing more. Thanks. |
Mar 18th |
| 32 |
Mar 19 |
Comment |
The monochrome is just fine. You are right that the water droplets fade out more than in the color, but you are also right that it does not matter. It's a charming image, very sharp throughout and very blurred-out background. |
Mar 18th |
| 32 |
Mar 19 |
Comment |
Your cropping, as usual, is just right. The original has a nice dark tone in the shadows. How about this slight adjustment, for example. I tried to tone down the lights, and darken the shadows a bit. I would like the composition better if the snow has been without human trampling. |
Mar 18th |
 |
6 comments - 3 replies for Group 32
|
| 45 |
Mar 19 |
Reply |
Yes, it was so beautiful. We lived about a km past the Museum, on the north side of the road, with our house directly under a great stone mountain, which I never failed to wonder at as I left for work each morning. On top was a Buddhist Monastery. We went once for meditation. The abbot was a woman, and we finished meditation with some meditative walking--unlike the slow meditative walking we were used to, this was fast walking--very unique. Our two years in Taiwan changed our lives in ways that no one back home could understand without experiencing it. |
Mar 27th |
| 45 |
Mar 19 |
Comment |
This is a fine portrait of an artisan. In my view, the workbench is part of his story, and would be better left as originally captured. In fact, there is a genre of workbench photography in which the person is absent and their whole story is told in the image of their workbench--neat or messy, for example. You did well to reduce the excessive brightness of the lamp and item under work. |
Mar 26th |
| 45 |
Mar 19 |
Comment |
Great night shot full of colors.
I lived in Taipei with my wife and kids in 1988-9. Our house was near the National Palace Museum, and I worked at an office at the airport downtown. Where is this bridge relative to those locations? |
Mar 26th |
2 comments - 1 reply for Group 45
|
| 51 |
Mar 19 |
Comment |
Yes, as everyone already said, you caught a great comparison of modern vs. traditional architectural forms.
But your original image is not distorted--it only displays perspective, and it is the same perspective you see with your eye. It is sometimes useful to keep to give a sense of a tall building soaring into the sky. In this case, I think leaving a little of that perspective would be advantageous. There is no difference between the vertical perspective you changed and the two horizontal perspectives on the faces of the building, which we are all used to seeing. |
Mar 25th |
1 comment - 0 replies for Group 51
|
| 65 |
Mar 19 |
Comment |
I have done close-ups of screws in the past. It's really amazing how not-smooth the finish of the screw threads is when you look at it under magnification. |
Mar 24th |
1 comment - 0 replies for Group 65
|
| 76 |
Mar 19 |
Comment |
Hi Tyler, I am visiting from Monochrome Group 32. You did very well with this shot, especially to get a good pose from someone you know. I think yours must be the First Family of PSA, with so much participation. Please keep on with the portrait work, like everyone is telling you. You can try shooting with diffuse light from one side, like just inside a doorway or window, or under a courtyard arcade, without the problem of direct sunlight. |
Mar 23rd |
1 comment - 0 replies for Group 76
|
| 80 |
Mar 19 |
Comment |
Hi Beverly, I have probably not shared with you that my wife is Turkish, that we have a summer home on the Aegean coast, and that we are often in Istanbul. You have done a very creative post-processing job that works very well with this typically Ottoman architecture. Very interesting to see how you interpreted it. Do you remember which mosque it was? I should also add that the series of domes and half-domes, going all the way down, carries the weight of the main dome down to the ground, and plays the same function that buttresses and flying buttresses do in European church architecture. |
Mar 23rd |
1 comment - 0 replies for Group 80
|
| 83 |
Mar 19 |
Reply |
Now that we are talking about the Ansel Adams tradition, I also note that you have some differences, which I like very much. You have the offset view with the mass of the wall to the left, and the doorway series, both modern touches. How did you do with this at your local club? |
Mar 30th |
| 83 |
Mar 19 |
Comment |
Your image stands up very well in the tradition set by Ansel Adams in his Taos Pueblo Church photographs. Yours is a very fine composition. I like seeing the tree-top through the first doorway--it adds a lot of interest for me. |
Mar 22nd |
1 comment - 1 reply for Group 83
|
| 88 |
Mar 19 |
Comment |
This is a GREAT example of NOT trying to "correct" backward tilt with perspective correction. Your shot uses the perspective to wonderful advantage. |
Mar 19th |
1 comment - 0 replies for Group 88
|
16 comments - 5 replies Total
|
