|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 5 |
Nov 19 |
Comment |
Great shot bringing out the "flowing ribbons" of the landscape.
I notice that nearly all of the Palouse shots in the recent Digital Dialogs are of the land only, with no horizon or sky showing. Must be that a great bunch of photographers all came to the same conclusion about the composition. |
Nov 11th |
1 comment - 0 replies for Group 5
|
| 8 |
Nov 19 |
Comment |
My comment is about the perspective. When tilting the camera upwards, parallel lines converge, and in this case give an excellent sense of the soaring architecture. It would have been a grave mistake to alter the perspective, as is often done. |
Nov 25th |
| 8 |
Nov 19 |
Comment |
I like both the original and your modified shots. (They appear to be reversed on the displays.) |
Nov 11th |
2 comments - 0 replies for Group 8
|
| 9 |
Nov 19 |
Comment |
Hello Priscilla, I am visiting from Monochrome group 32. You have a nice capture of sports action here. I am sure everyone would like to know more about the image: the event, your personal story of shooting, and your camera settings (shutter speed, lens aperture, lens focal length). Did you crop an original? Can we see it?
From you bio, I saw that you use PS Elements--I use it also and find it quite ample for everything I want to do. |
Nov 3rd |
1 comment - 0 replies for Group 9
|
| 15 |
Nov 19 |
Comment |
Hi Bob, yes "cloud bank" or "sky image folder."
I joined PSA Digital Dialogs about ten years ago. About two years ago, I suddenly decided to cruise through all the groups each month. There was an announcement about a new feature a few months ago: click on "Current Images" at the top of the page to see a preview of all images for the current month. Please drop into any other groups where you see images you like and comment freely. Sometimes patterns emerge and I tell folks about them. There are often a lot of rodeo shots, and this month there are a lot of waterfall shots. |
Nov 11th |
| 15 |
Nov 19 |
Comment |
Great shot, and one of the best skies I have even seen. You need to put it in your cloud bank, and start one if you don't have one. |
Nov 11th |
2 comments - 0 replies for Group 15
|
| 16 |
Nov 19 |
Reply |
Oh, I see now. I was talking about the small distant mountains on the left, but on my monitor I could not see it in the original, so I thought it was a stray artifact in your finished image. Cancel my comment, please. |
Nov 22nd |
| 16 |
Nov 19 |
Comment |
Wow, I have a lot of reactions to this. First of all, the sheer drama of the shot you got. Excellent.
Then, I get a funny feeling from the finished image, like I am standing right there, and I am too close to a dangerous machine. So I prefer the spaciousness of your original, which show more of the mine context, as well as making me feel like I am not too close for safety. I particularly like the overhead floodlights in the original, explaining the situation.
Finally, a social comment. The miner is wearing ear protectors--no doubt his machine is very loud--but he does not wear a mask against the dust. This makes me think of all the recent news articles about mine safety violations. |
Nov 11th |
| 16 |
Nov 19 |
Comment |
This is a very tasteful composition, and great detail shown in the foreground.
But something is amiss with the horizon line on the upper left, at least as compared to the original. |
Nov 3rd |
2 comments - 1 reply for Group 16
|
| 17 |
Nov 19 |
Comment |
Hi, I am visiting from Monochrome Group 32. You had a good eye for this: the small rock, the large rock outcrop, the island rock, the cloud. Nice progression. Looks great in monochrome. Congratulations. |
Nov 2nd |
1 comment - 0 replies for Group 17
|
| 19 |
Nov 19 |
Comment |
Wonderful shot. I especially like the framing by the trio of trees--I think that is a brilliant touch. Can you show the original for us to see what you decided to crop from?
There are a number of waterfall shots this month throughout the digital dialogs. Most everyone avoids mid-day sun. See this month Larry Treadwell in Group 67, Bob Legg in Group 29, and Tom Johnson in Group 28.
|
Nov 11th |
1 comment - 0 replies for Group 19
|
| 20 |
Nov 19 |
Comment |
This is very interesting, compositionally. There is so much "passion," literally, in a large crucifix sculpture, and you captured the subject matter well. I like the effect of the multiple spot-lights, as they cast interesting shadows.
The image seems to lack sharpness, but that's not too bad, as the subject matter is what's important.
I would prefer the full view, as leaving out the nails in the feet is leaving out part of the story. On the other hand, a close-up of the face might also work. |
Nov 2nd |
1 comment - 0 replies for Group 20
|
| 23 |
Nov 19 |
Reply |
The motion of the ship receding from the scene wound not affect sharpness, but its rising up and down a bit might certainly do so. But the colors are so beautiful on this exceptional shot, the sharpness is no concern at all. |
Nov 24th |
| 23 |
Nov 19 |
Comment |
This is a charming shot, good composition placing the church following the rule of thirds--it really seems to work for your shot.
I think the foreground is a bit blurry, or seems so on my monitor. I am assuming your camera auto-focused on infinity. If you shoot manual, set to f/11, you can focus on a point midway between the foreground and background, and get more depth of field. Then you can experiment with putting some flowers or bushes in the foreground (not for this shot--I like the starkness of this shot). For an example, see Abe Chen's mountain shot in Group 25 this month--he shot at f/16. |
Nov 11th |
1 comment - 1 reply for Group 23
|
| 25 |
Nov 19 |
Comment |
Truly beautiful. I am sorry we missed this on our tour of Morocco a few years ago.
You shot hand-held. For ceiling shots, you can set the camera on the ground and put it on automatic, to shoot at a slower shutter speed. |
Nov 11th |
| 25 |
Nov 19 |
Comment |
Great catch. Suggest you remove the chair on the left. The rest of the background is nicely blurred--what were you shooting data, especially the aperture?
Our grandkids are a bit older, now 6 and 8. About a year ago, I bought a couple of simple old digital cameras, Canon ELPH, and give them to the kids in the backseat of the car whenever we take them on outings. Now they tease and argue less with each other, and take bizzare pictures. |
Nov 11th |
| 25 |
Nov 19 |
Comment |
Great use of f/16. Everyone should make such good use of the foreground when shooting mountain scenes--this places the viewer right in the scene amongst the wildflowers. In post processing, did you lighten the foreground? |
Nov 11th |
3 comments - 0 replies for Group 25
|
| 26 |
Nov 19 |
Comment |
Good shot of the attractive ceiling of Union Station.
I like the scope of your original better, as it takes in the alcoves with the Roman Centurion statues better--they are so much fun, standing solemnly above an indifferent crowd.
You did not say what the lens focal length was? I would have liked to see more in the shot, with a wider lens. |
Nov 10th |
| 26 |
Nov 19 |
Comment |
You are right, the double subject of the object itself and its shadow is great. And hand-held at 1/13--well done. How did you brace the camera? What was the light source? |
Nov 10th |
2 comments - 0 replies for Group 26
|
| 27 |
Nov 19 |
Reply |
Ah, I see, suggests a woman's breasts. You certainly have identified a problem, conscious or subconscious. One must always be alert to what one's art might suggest to all viewers. Sorry to have not noticed.
We talk about a lot in these dialogue groups, and our photographs are often tangents to discuss personal experiences, travel, and issues of all kinds.
Many social groups today are mistreated, ignored, and abused, and often subconsciously, and by structural problems that perpetrators don't even notice. I am thinking, for one, of the issue now before the Supreme Court that would allow employers to fire employees solely for being LGBTQ, without considering their merit.
As to your photograph, what might be a tighter crop that you would not have a concern about? |
Nov 12th |
| 27 |
Nov 19 |
Comment |
I like your finished image a lot. What is location? |
Nov 10th |
| 27 |
Nov 19 |
Comment |
That steam plant tour must have really been something. This looks so interesting. My only suggestion is to not take in so much, so here is a suggested crop. Also, I prefer the color because it has some interesting nuances of hue. |
Nov 10th |
 |
2 comments - 1 reply for Group 27
|
| 29 |
Nov 19 |
Comment |
This is an interesting cross-cultural insight. Is the young Japanese couple having a location wedding, or do they have Tahitian ancestors? Is this a way for Tahitians to make an income from wedding tourism? |
Nov 24th |
| 29 |
Nov 19 |
Comment |
Bob, this is very charming. It looks like you worked hard to get this just right. You might want to visit Larry Treadwell in group 67, who also did a waterfall shot this month. |
Nov 10th |
2 comments - 0 replies for Group 29
|
| 30 |
Nov 19 |
Comment |
You did very well to get this shot, with its nice distribution of light and shadow from left to right, I presume coming in the window. Sharpness is perfect.
Is there a story? Do you know this person, or get their permission to be photographed? |
Nov 10th |
1 comment - 0 replies for Group 30
|
| 32 |
Nov 19 |
Reply |
Jennifer, those are great suggestions. I will keep them in mind for the future. |
Nov 28th |
| 32 |
Nov 19 |
Reply |
Thanks, Diana. Darned if I know which ones will work and which ones won't. No matter how much I think I can critique others', I have no idea how my own will do. The visitors coming in from other groups are probably doing so because I have visited their groups (I am doing that a lot). |
Nov 24th |
| 32 |
Nov 19 |
Comment |
I noticed that the image was bisected, but did not suggest otherwise because I LIKE bisected images, although generally vertically. I like the way that sets up two stories, with a relationship between them.
In this case, there are not two stories, so I agree with Jennifer's suggested crop. |
Nov 18th |
| 32 |
Nov 19 |
Comment |
Thanks to everyone for your suggestions. |
Nov 18th |
| 32 |
Nov 19 |
Comment |
There have been SO MANY Palouse shots in the DDs recently. For a good color job, see Oliver Morton's in Group 5 this month. |
Nov 11th |
| 32 |
Nov 19 |
Comment |
You got the shot. No one notices the background, which should not take any attention away from THAT EYE!!! Wow! |
Nov 11th |
| 32 |
Nov 19 |
Reply |
Good point about the four close links, Tom. I did not think about that, but I will use the comment to inform my shoots in the future, and tinker a bit with arrangements. Thanks. |
Nov 11th |
| 32 |
Nov 19 |
Reply |
Yes, Bob, my chain shot (1-inch links as I recall) is of new chain at my local hardware store. I asked permission, and they let me shoot anything I wanted for a few hours. I got a lot of Jumbles shots. It was pure joy for me, shooting down into drawers of nuts and bolts.
I am telling a story of gravity, whereas your shots tell a story of time. Interesting that all we have in the physical universe is matter, energy, and time. We all know who related them, of course: Einstein. |
Nov 11th |
| 32 |
Nov 19 |
Reply |
Hi Larry, thanks for blowing me away with compliments. The Jumbles is my "Project," like writers must find their voice, photographers must find their project. I have been shooting them for a long time, and once did a show of just Jumbles. |
Nov 11th |
| 32 |
Nov 19 |
Reply |
Yes, the patterns are very successful. As to the nearly invisible poles in the distance, I only noticed them because everyone in the digital dialogs has trained me for the last ten years to look for things like that! :-) I agree they really don't matter. |
Nov 11th |
| 32 |
Nov 19 |
Reply |
Ah, in monochrome, just for our group. Thanks. And all are fine shots. |
Nov 11th |
| 32 |
Nov 19 |
Comment |
I find it interesting that you did not include any sky--that makes it seem like the land will go on forever--a good compositional choice. I like the patches of near-black in the contoured land and the clumps of trees. Also good that there are no structures in this shot. I like the bisecting road in the middle.
Consider removing the four almost invisible utility poles on the upper edge. |
Nov 10th |
| 32 |
Nov 19 |
Comment |
I find the reflections in the windows somewhere between distracting/disturbing/interesting. I don't know what to suggest.
Can you return when patrons are milling about? It might then be a bit like the style of Robert Frank's The Americans, showing a less glitzy side of society. |
Nov 10th |
| 32 |
Nov 19 |
Reply |
You are so kind! |
Nov 4th |
| 32 |
Nov 19 |
Reply |
Hi Jerry, thanks for visiting. It would be fine if you continued the discussion of shooting chains right here and showed us an image of rusty chains. It would be a great contrast with my shiny ones. And color is fine, because this is all about visiting and chatting with one another. |
Nov 4th |
| 32 |
Nov 19 |
Reply |
Hello Lance, thanks for visiting, and the great suggestion to print on metal--how perfect! |
Nov 4th |
| 32 |
Nov 19 |
Comment |
So many portraits, like this one, are better in b/w because color is not actually the subject. Good job hand-holding (yes?) at 1/20. |
Nov 4th |
| 32 |
Nov 19 |
Comment |
Good job. Just perfect. You have shown us that it's a good idea to "walk around back" for a picture. |
Nov 4th |
| 32 |
Nov 19 |
Comment |
Yes, I agree that the wider perspective shows the context better. One must choose the emphasis to taste and display needs. |
Nov 2nd |
| 32 |
Nov 19 |
Comment |
I like the color shot better because of the variations in the green tones, and the bit of red bushes. However, it is just fine in mono. The others are more adept at comments about post-processing, so I will not try to comment on that. My one suggestion is to crop in a bit, making the punters a little more noticeable--see my try at it. I also like that your viewpoint is a bit off-center of the waterway. |
Nov 1st |
 |
10 comments - 10 replies for Group 32
|
| 38 |
Nov 19 |
Comment |
Thanks for showing this shot. I would go a step further and take out the blue one as well--I find it disturbing that its passenger basket is not visible. |
Nov 9th |
1 comment - 0 replies for Group 38
|
| 41 |
Nov 19 |
Comment |
I like the way you all are working together to make suggestions for Brad to develop his idea. Jan's variation is very interesting. How about this? There is a very small light spot in the clouds near the eye location of the great head. How about if you place the head so that light spot falls exactly where the eye is on the head? Another thought: how would it look if the great head were half as bright as currently--I am thinking very subtle, like in the N.C. Wyeth painting I showed at the beginning of the discussion. I also like Henry's suggestion to tilt the head down--slightly. |
Nov 24th |
| 41 |
Nov 19 |
Comment |
Nice blending of images for a good effect. You might approach this concept by creating an interaction between the giant figure and the small figures, as in this N.C. Wyeth painting. |
Nov 9th |
 |
2 comments - 0 replies for Group 41
|
| 42 |
Nov 19 |
Comment |
Very nice colorful shot, and perfect for a macro lens, as everything is in a thin plane.
How did you handle illumination without blocking the light with your self, camera, and lens? |
Nov 9th |
1 comment - 0 replies for Group 42
|
| 47 |
Nov 19 |
Comment |
Hello Don, I am visiting from Monochrome Group 32. I am so impressed with this shot. I like very much your dynamic range from light to dark, and the compositional element of the mountains tapering up to the exact upper right hand corner.
Because of your intense story of getting the shot, I suggest you have a look at the images of Larry Treadwell in Group 67. He also goes all out to get the shot, if you look back at a few months of his work. I think you two of of the same spirit.
|
Nov 9th |
| 47 |
Nov 19 |
Comment |
You did very well on this for shooting a performance, as opposed to working with a model who would leap at your command.
In some situations, a little blur is desirable to show the motion. I am fine with a bit of blur on the two feet, but find distracting the slight blur in the leg garments and the left hand. If you could have shot at 1/1000 (but I don't think you could have in this situation), I would have preferred that shot. |
Nov 8th |
2 comments - 0 replies for Group 47
|
| 48 |
Nov 19 |
Comment |
This is a charming and successful image, but I think we would all love to know the place, the story of how you shot the image, your camera settings, and your post-processing. Please tell us more.
Small point: can you use your post-processing to level the horizon line? |
Nov 1st |
1 comment - 0 replies for Group 48
|
| 50 |
Nov 19 |
Comment |
Excellent shot, in both color and b/w of a cathedral interior. I have a personal preference to not completely alter the vertical perspective, and leave a bit of the feeling of "soaring upward" in the image. How does this look to everyone? |
Nov 23rd |
 |
| 50 |
Nov 19 |
Comment |
Hi, I am visiting from Monochrome Group 32.
Your work to not cut off any boats paid off with a fine composition--so often in our group we remind each other of being careful about that. Good finish with the white stroke.
Congrats on this shot. |
Nov 8th |
2 comments - 0 replies for Group 50
|
| 51 |
Nov 19 |
Comment |
Hi Richard, looks like the local C&O, an old friend. Very nice shot. I agree with the others about finding a middle point for saturation. But I also like your original crop as shot--nearly the whole frame is filled with the receding diagonal lines. |
Nov 21st |
1 comment - 0 replies for Group 51
|
| 53 |
Nov 19 |
Reply |
Oh also, after reading your bio, my Washington (DC) daughter has a rescue Great Pyrenees. Are any of your dogs Great Pyrenees? |
Nov 21st |
| 53 |
Nov 19 |
Reply |
Hi again, Dan.
I told my Seattle kids about your image. My son replied, "I was just at the Fare Start Cafe yesterday!" My daughter said, "Me too," about wanting your advice about where to get good photo shoots in Seattle. |
Nov 21st |
| 53 |
Nov 19 |
Reply |
Hi Dan, thanks for the offer. We will be visiting two of our grown children, and two grandchildren, for a week, and will be pretty busy. I will take mostly family photographs. We have been to Seattle probably 20 or so times in the last 10 year--I am even used to getting around. But for reference, and if there is an opportunity, what are your most favorite places to shoot from? |
Nov 21st |
| 53 |
Nov 19 |
Comment |
Good shot of a chef at work, intense facial expression, good crop.
I will be in Seattle for Christmas. Where is the Rainier Club and it is open to the general public? |
Nov 6th |
| 53 |
Nov 19 |
Comment |
Yes, I think you have a very successful image. But for panning, I would really like to know what your shutter speed was?
Also, see last month, where two of our colleagues did panning studies: Peggy Reeder in Group 22, and Richard Huang in Group 78. |
Nov 1st |
2 comments - 3 replies for Group 53
|
| 58 |
Nov 19 |
Comment |
Wow, you certainly must have had an interesting time at that art exhibit. I think you found a great photo opportunity to shoot into that mirror, building on the art show to create something extra.
The woman in the mirror is a little dim, because most mirrors have noticeably less than 100% reflectance. But perhaps that works well to differentiate her from the painted hands.
See my image last month in Group 32, where I also shot into a circular mirror. |
Nov 1st |
1 comment - 0 replies for Group 58
|
| 62 |
Nov 19 |
Comment |
Fabulous shot, Pete. You are pretty amazing how you always find such great subject matter--and with bullet holes to boot!
I really liked the intense lighting of the original, so I am suggesting to retain some of that, like this: |
Nov 6th |
 |
| 62 |
Nov 19 |
Comment |
Nice job. It is really amazing what your (and Oliver's) post-processing have done to change the image from a float-by snapshot into a classic portrait of this famous statue. |
Nov 6th |
2 comments - 0 replies for Group 62
|
| 63 |
Nov 19 |
Comment |
I agree that perhaps the extraneous background on the right side might be darkened to pure black, but I don't agree about "more contrast" and "more impact." I think your definition on this shot is great, and that punching it up would lose its delicacy. |
Nov 6th |
1 comment - 0 replies for Group 63
|
| 67 |
Nov 19 |
Reply |
Larry, I was just looking at Don Crow's work in Group 47. This month he tells the story of getting his shot, and it reminded me of your stories--passionate about getting to the right place at the right time to get the shot, no matter what it takes to get there. |
Nov 9th |
| 67 |
Nov 19 |
Reply |
No, no. Nothing was cut off. I just don't know what the word "Deion" means. It is new jargon to me. |
Nov 6th |
| 67 |
Nov 19 |
Comment |
Looks great to me, and far better in b/w. See Group 71 this month where John Zhu is working on a similar shot. |
Nov 6th |
| 67 |
Nov 19 |
Comment |
Truly a stunning shot. Your entire group is extraordinary this month.
(Please explain that word you started your write-up with: Deion--I don't know that jargon. Thanks.) |
Nov 6th |
| 67 |
Nov 19 |
Comment |
Hi Larry, great story of conceiving and executing this image. You did a great job to control the dynamic range and avoid splotchy direct sunlight--good lesson for us all. I particularly like the clarity of the calm pool of water in the foreground, seeing right through to the rocks underwater. I like the crop just the way it is. |
Nov 5th |
3 comments - 2 replies for Group 67
|
| 71 |
Nov 19 |
Comment |
John, I move around all the groups. See Group 67, where Wayne Stelk is working on a similar shot. |
Nov 6th |
| 71 |
Nov 19 |
Comment |
Hi John, I am visiting from Monochrome Group 32. This is a really good job in b/w of a shot that everyone else would have presented in color. (In Group 32, we have to present in b/w of course.) Can we see the original? How did you decide to present in b/w? |
Nov 4th |
2 comments - 0 replies for Group 71
|
| 73 |
Nov 19 |
Reply |
Thank you, Peter, I will use them in discussions of perspective that I have in these Digital Dialogs, and always say they are from you, Group 73, Nov. 2019. |
Nov 27th |
| 73 |
Nov 19 |
Comment |
Peter, can I have your permission to use your images in discussions about perspective in these Digital Dialogs? |
Nov 27th |
| 73 |
Nov 19 |
Reply |
Peter, I am interested in this image because it show converging vertical lines from a downward perspective. Usually we see that when looking up at tall buildings.
I often comment in these dialogue groups that both the eye and the camera see the same thing, since all parallel lines converge in the distance--streets and railroad tracks are comfortable to our eyes, but vertical convergence makes people want to alter the perspective. I personally prefer the soaring appearance of tall buildings whose lines converge upwards. Architectural photographers almost always alter the perspective to make the lines parallel because their clientele prefers it.
I would like to ask your permission to either cite or copy your original image when I discuss vertical perspective in these dialogue groups. It is a novel and excellent demonstration of vertical perspective. |
Nov 20th |
| 73 |
Nov 19 |
Comment |
What a fantastic shot. Please show us the original. I very much want to see how the perspective looked before-hand. Thanks. |
Nov 19th |
| 73 |
Nov 19 |
Reply |
Ian, I use an old version of PhotoShop Elements. I find it more than adequate for all basic post-processing. But there are lots of other options that I hear our groups talking about, which I know nothing about. |
Nov 7th |
| 73 |
Nov 19 |
Comment |
Ah, you are being true to what you saw--admirable! And a good mood capture--rainy days make great pictures.
I did a tiny bit of perspective adjustment, although I don't usually like to do that, since it is not honest to what the eye saw. What do you think? |
Nov 4th |
 |
| 73 |
Nov 19 |
Comment |
Are the images reversed? The colors are more pleasant in the "original." |
Nov 1st |
4 comments - 3 replies for Group 73
|
| 76 |
Nov 19 |
Comment |
Hello Cyndy, I am visiting from monochrome group 32.
I think you shot of this famous old camera is great, and for that reason I have lots of little comments.
1. The knob on the left side is a bit bright.
2. How about a stroke frame to surround the image?
3. I don't care for the partial reflection; all or nothing.
4. How about shooting this with the viewing hood open?
Have you ever shot with this camera? |
Nov 1st |
1 comment - 0 replies for Group 76
|
| 78 |
Nov 19 |
Reply |
Hi Brenda, your shot without the globe is fine, but once having seen the original, ambiguous shot, I much prefer it because it is so much fun. |
Nov 29th |
| 78 |
Nov 19 |
Comment |
What a clever shot. At first, I thought you had captured a full moon. Then I saw the rod connecting to the globe. This is quite Magritte-esque. |
Nov 1st |
1 comment - 1 reply for Group 78
|
| 90 |
Nov 19 |
Comment |
Lovely composition. How do you get the star trails (what was the exposure time?), but not a blurry tree? |
Nov 4th |
1 comment - 0 replies for Group 90
|
60 comments - 22 replies Total
|
