|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 2 |
Aug 19 |
Comment |
This is so much fun.
Here is some history of this technique. The photographer Phillipe Halsman (know for his *Jump Book*) had a nearly 40-year collaboration with the artist Salvador Dali. Another of his books was *Dali's Moustache*. Here is a sample from that book. |
Aug 7th |
 |
1 comment - 0 replies for Group 2
|
| 4 |
Aug 19 |
Comment |
This kind of story photography and story-telling about people is the most enriching experience of viewing the DD groups. Thanks for taking us there. |
Aug 7th |
| 4 |
Aug 19 |
Comment |
Great shot with the hammer head blurred to show motion.
Your original 1 shows a classic standing pose of Guan Yin, the goddess of mercy. We have a small one of those in our front yard, but those in original 1 must be aimed at temple purchasers. (Looks like the Virgin Mary is in the left rear.) |
Aug 7th |
2 comments - 0 replies for Group 4
|
| 5 |
Aug 19 |
Comment |
Great shot of the experience of Ta Prohm. I have a 15-year old shot of my wife in the very same temple, also looking around in wonderment. I modestly titled it "Woman in Ecstasy." |
Aug 5th |
| 5 |
Aug 19 |
Comment |
David (and Pete), you are doing great work with this image, developing it into something original. I just want to add that this old hotel lobby (I think) has shown up before in our digital dialogs. It is a perfect shot to capture. |
Aug 4th |
| 5 |
Aug 19 |
Comment |
Great shot, and thanks for the story-telling. You *do* get out to the greatest places to shoot. |
Aug 3rd |
3 comments - 0 replies for Group 5
|
| 9 |
Aug 19 |
Comment |
Very nice shot and a good perspective. What was the focal length of your lens? How far were you standing from the wheels (?) on the ground? At f6.3, I think the nearest and furthest subjects are a touch out of focus (at least on my monitor), but that does not detract from the overall interesting composition. |
Aug 18th |
1 comment - 0 replies for Group 9
|
| 14 |
Aug 19 |
Comment |
Hello Arun, very nice composition. I like that it is entirely about light, art, and architecture--minus the tourists.
I have often been to Hagia Sophia, as my wife is Turkish. We have a summer home there, in the vicinity of Izmir, but we have visited Istanbul many times.
I shoot with a Canon G10, a bit older than your G16. Your camera is surely more low-light sensitive and lighter in weight than mine. |
Aug 8th |
1 comment - 0 replies for Group 14
|
| 15 |
Aug 19 |
Comment |
I think this is a stunning capture of a street photograph. You have everything in: poster, musician, lights, color. I can just feel the music. Congratulations on seeing and getting this. I think it also works in B/W, but the bright streak in the foreground would need to be toned down a bit. |
Aug 8th |
 |
1 comment - 0 replies for Group 15
|
| 27 |
Aug 19 |
Comment |
This is a really nice formal study of the scene. I think I see that you altered the vertical perspective to remove the convergence of vertical lines from tilting the camera upwards. I normally advise everyone not to do that for two reasons: 1) the convergence is what your eye (and the camera) actually see--there is no distortion; 2) I like the soaring effect on tall buildings. HOWEVER, I think you made the right choice here, to shoot like an architectural photographer. This is a great composition. Congratulations. |
Aug 11th |
| 27 |
Aug 19 |
Comment |
I love shots like this. It is a portrait of the person without the person. The wear on the boots and the crossed feet are hints about a life. Also the heels and soles are not worn out, so have probably been replaced, showing responsible care of the boots. Well done. |
Aug 11th |
2 comments - 0 replies for Group 27
|
| 28 |
Aug 19 |
Comment |
Congratulations on not over-doing the post-processing. This is a really beautiful result. |
Aug 11th |
1 comment - 0 replies for Group 28
|
| 29 |
Aug 19 |
Comment |
Nice street scene, and fine juxtapositions of the groups of people. I rotated it .29 degrees to the right to straighten it a tiny bit--that required a slight crop. |
Aug 11th |
 |
1 comment - 0 replies for Group 29
|
| 31 |
Aug 19 |
Comment |
The domestic scene in the foreground adds depth to your wonderful image, both literally and figuratively. Congratulations on a fine shot. |
Aug 11th |
1 comment - 0 replies for Group 31
|
| 32 |
Aug 19 |
Comment |
I like the background as it is. Of course the shot is great as well. But if you do replace the background I think you should be very careful not to overdo it with exciting clouds that might subtract from appreciating the good shot of the bird. |
Aug 30th |
| 32 |
Aug 19 |
Reply |
Thanks, Diana. I think this was training for me to go out and do better next time. Good advice from you and Larry. |
Aug 10th |
| 32 |
Aug 19 |
Comment |
Yes, the sky is a great success. It is a wow! How about a tiny tiny bit more detail in the lawn and trees??? |
Aug 7th |
| 32 |
Aug 19 |
Comment |
Oh no, I like the background. I think your man is too bright, however. |
Aug 7th |
| 32 |
Aug 19 |
Comment |
I find your offset composition interesting, emphasizing the expanse of the sea, and by implication, the small scale of human endeavor. Of course, given enough time, human endeavor has been able to ruin our planet, so my simplistic remark is perhaps also wrong:--( In one of the other groups this month, our colleague there did the same thing with a shot of the Golden Gate Bridge, emphasizing the open water of San Francisco Bay. |
Aug 7th |
| 32 |
Aug 19 |
Reply |
Larry, thanks for coming by with good advice, especially about the frame idea. Yes, I think it was not a very professional shoot, what with the sunglasses and uninteresting seated pose. I saw the upside down Nikon strap, but I could only ask for permission to take two shots, and did not dare to ask for arranging or posing. As to my basic composition, you make a good point about taking up too much canvas with the photographer's back--this informs me to look for a better solution next time. |
Aug 6th |
| 32 |
Aug 19 |
Comment |
So I have no idea how to make a frame like I wanted, although I am sure it is easy. Can someone show me how? Here is the concept I roughed out with Paint. Thanks. |
Aug 5th |
 |
| 32 |
Aug 19 |
Reply |
Thanks, I don't go for the iphone cost. I have a very modest droid phone, an LG 5. My son picked it out for me because it had two lenses. It is quite satisfactory for shooting well-lit scenes, and it has a much wider angle of view than my serious camera, a Canon G5. But the Canon has a decently large hunk of glass up front, and a very satisfactory flash, not to mention full manual controls. |
Aug 3rd |
| 32 |
Aug 19 |
Comment |
Self-criticism here. I realized afterwards that the image I chose had a better pose of the photographer, with his right arm upraised. Also, I dare to say that since he is at the edge of the frame, that he is almost "outside" the frame, shooting in. I would like to put a stroke around the frame that has the right 10% of the shot outside the right side and not continuing to frame his body, to strengthen the idea that he is both inside and outside the frame. I will need to remove the portion of the building in the 10% so only the photographer goes outside the frame. As to the model, I believe she had hired him for a publicity shot. But I think she made a serious mistake to wear sun-sensitive glasses. |
Aug 3rd |
| 32 |
Aug 19 |
Comment |
Let's discuss. I am not getting much impact from this, and I think there is too much in the scene, and the mission bells are not prominent enough. What do you think about cropping out the cacti outside the wall? (I tried cropping even more, down to just the tower top and bells, but I did not like that.) |
Aug 3rd |
 |
| 32 |
Aug 19 |
Comment |
I am very fond of solid black as a background color, also running deep shadows in some shots to pure black rather than bringing out the shadow details. So this shot appeals to me very much. You have made it very stark, appropriate to the subject matter. I think the details on the shadow side are good. Perhaps you might darken the base a bit--I don't think you should eliminate it--I like the composition of forms as it is. |
Aug 3rd |
8 comments - 3 replies for Group 32
|
| 33 |
Aug 19 |
Comment |
You have an interesting perspective on this building (double meaning intended). I really like that you gave it a soaring look due to tilting the camera up and creating vertical tapering. That is not distortion, by the way, it is the actual vertical perspective that both the eye and camera see. I very much like the overall composition. |
Aug 11th |
| 33 |
Aug 19 |
Comment |
You can try working in monochrome. That often give dignity to a shot. I did nothing at all to this except switch to mono by sliding the PS Elements saturation control all the way to the left. |
Aug 11th |
 |
2 comments - 0 replies for Group 33
|
| 35 |
Aug 19 |
Comment |
I love to see shots of traditional Taiwan. I took my whole family to live in Taipei in 1988-9. The memories are so sharp. Thanks for this wonderful shot. |
Aug 11th |
1 comment - 0 replies for Group 35
|
| 40 |
Aug 19 |
Comment |
I love everything about this. The side lighting, the dark shadow area, the slightly off-center point of view, the completely empty corridor (!), the great background story. I have tried many times to get a shot like this, and this one is perfect. |
Aug 11th |
1 comment - 0 replies for Group 40
|
| 43 |
Aug 19 |
Comment |
Great shot with that light streaming in.
I just pulled the right side a bit straighter from the top with PS Elements Image/Transform/Skew. What do you think? |
Aug 4th |
 |
1 comment - 0 replies for Group 43
|
| 44 |
Aug 19 |
Comment |
Very nice church interior, with everything well-illuminated. I just suggest straightening the right column a bit. For example, I used PS Elements with Image/Transform/Skew, grabbing only the top right control handle, and pulling it a bit to the right. |
Aug 11th |
 |
1 comment - 0 replies for Group 44
|
| 51 |
Aug 19 |
Comment |
This is a beautiful image. Thanks to you and a dozen others in the digital dialogs over the years for taking me to the Palouse. Your entire group has a very vigorous and interesting discussion about each of your images, and I love visiting your group. (I like that Barley comments about wheat.) |
Aug 4th |
1 comment - 0 replies for Group 51
|
| 54 |
Aug 19 |
Comment |
Absolutely seamless composite, and a very effective concept. I find it very poignant, since a while back I had strong feelings about our middle child of three, our only son, leaving two years earlier than expected, when he asked to go abroad for his junior year in high school. Thanks for telling the personal story--that adds so much to the discussion. |
Aug 4th |
1 comment - 0 replies for Group 54
|
| 62 |
Aug 19 |
Comment |
Oliver, what a great shot. I really like that you captured this boy with his index finger placed correctly (I presume) on his lance for control. |
Aug 13th |
| 62 |
Aug 19 |
Comment |
I think both compositions have a lot to say, depending on your choices. Your revised image, with Oliver, is a good shot of a seaside couple, and a captivating dog.
But I also like the original because it contains a discussion about people each wrapped up in their own world. No faces are shown (except the dog--significant), and everyone turns their backs to each other. Even the couple do not face each other, nor do we see their faces. In color, it's about the seaside; in B/W, it's about non-interaction. |
Aug 13th |
2 comments - 0 replies for Group 62
|
| 67 |
Aug 19 |
Comment |
Larry, you are not breaking any rule to tell us about your thought process--after the the photograph itself, it is the next most important story to tell. You must always tell us the story--you tell it so well. |
Aug 6th |
1 comment - 0 replies for Group 67
|
| 70 |
Aug 19 |
Comment |
The Golden Gate Bridge is so often photographed, it is hard to get a unique shot, but I think you have a very good idea to set the bridge to one side, and show that it is the gateway to open water. |
Aug 3rd |
1 comment - 0 replies for Group 70
|
| 76 |
Aug 19 |
Comment |
Well-done to use that shaft of light and wait for a person to walk through it. I have tried the same thing--with less success. This shows the scale very well.
A word about such large building projects--religious or not--anywhere in the world--especially in not-very-wealthy countries. I see a conflict between such projects and the need for public works. Read the Wikipedia article about the immense cost and labor involved in this project. |
Aug 13th |
1 comment - 0 replies for Group 76
|
| 77 |
Aug 19 |
Comment |
Nice sunset capture. Congrats on not overdoing the enhancements--your finished image looks very natural.
Bouncing off of Witta's comment about the blue, I would like to offer an alternative. The so-called blue hour is naturally present in your shot in the shadow areas, but the open areas are colored by the red-orange sunset. I have never seen a natural combination like this. I think it's stunning like this, and an interesting combination. |
Aug 4th |
| 77 |
Aug 19 |
Reply |
J. Lanning,
I get off on digressions very easily. I apologize for not sticking to photo criticism.
--Steve |
Aug 4th |
| 77 |
Aug 19 |
Comment |
All these discussions are great fun; glad to participate in interesting digressions. As to my word play--shot the Nikon with the Canon:
1. Literal: the photo of a Nikon camera was taken with a Canon camera.
2. Weaponry: "Shooting" is done with a huge "cannon" in warfare.
3. Camera rating: a Canon camera outperforms a Nikon camera (also ironic because of Nikon's long history of superiority).
I could not resist. I promise not to do it again, until next time. A triple-meaning word play is a rare opportunity. |
Aug 3rd |
| 77 |
Aug 19 |
Comment |
I like very much the lighting here, especially the deep shadows--I am fond of using total black in my images.
Some word play here: you shot the Nikon with the Canon (three meanings).
About the title, I suggest "Unusual Use of the Camera." My personal reason for that is that a few years ago, I wrote a list of suggested monthly shooting themes for my local club, and one of them was "Unusual Uses of the Camera." You shot is a perfect illustration of that theme. Thanks. |
Aug 3rd |
3 comments - 1 reply for Group 77
|
| 78 |
Aug 19 |
Comment |
About shooting at f22, I don't believe that is necessary when everything is far away and no depth of field is needed at all--essentially everything in this scene is at the same distance from the camera--infinity. I think f4 or f5.6 would have been ample, giving more latitude to bring down the ISO. Now if you wanted to put wildflowers in the foreground about five feet from the camera, yes f22, and then you would focus at 10 feet and the depth of field would run from four feet to infinity--roughly. |
Aug 15th |
1 comment - 0 replies for Group 78
|
| 79 |
Aug 19 |
Comment |
Your work is really delightful, Karl. Thanks for telling us the great story of your group and its relationship with your nearby museum. That is an inspiration for others to consider. Congratulations on having your work purchased into the museum's permanent collection. |
Aug 3rd |
1 comment - 0 replies for Group 79
|
| 88 |
Aug 19 |
Comment |
Nice shot. How I envy you your 15mm.
Have you ever noticed that every doctors' office in America is filled with cheap copies of painting of Cinque Terre or Santorini? |
Aug 3rd |
1 comment - 0 replies for Group 88
|
41 comments - 4 replies Total
|
