|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 3 |
Apr 20 |
Reply |
(Ata, thank you for the dotted capital "Ä°". I have never been able to find it in Word Insert Symbol.) |
Apr 16th |
| 3 |
Apr 20 |
Comment |
This is a tremendous shot of Turkish villagers probably working at a cottage industry making these pots.
My wife is Turkish, so I can tell you that the title is "Istif". |
Apr 8th |
1 comment - 1 reply for Group 3
|
| 4 |
Apr 20 |
Comment |
This result is very beautiful. Does your daughter do what I think is a related process called paper marbling? |
Apr 12th |
| 4 |
Apr 20 |
Comment |
In the last 10 years I have been in the DDs, I have seen a few tries at capturing polo. Some photographers will shoot off 300 images and get very little. You managed to get a frontal view, stop the action, include all four faces, a visible swinging mallet, AND THE BALL. Oh yes, and one horse will all four feet off the ground. Wow! |
Apr 12th |
2 comments - 0 replies for Group 4
|
| 5 |
Apr 20 |
Reply |
Yes, Barbara, I too prefer the color version for the same reason! |
Apr 13th |
| 5 |
Apr 20 |
Comment |
Hi Pete, the work you did on this is impressive. I am struck by the feeling of deep texture you got on the tall yellow-brown planter. The whole image feels alive. |
Apr 12th |
| 5 |
Apr 20 |
Comment |
Very fine study in textures. Since that is the main subject, I converted it to monochrome (my Group 32 is a monochrome group), darkened the overall highlights, and did a tiny touch of sharpening. Submitted for discussion only. |
Apr 12th |
 |
2 comments - 1 reply for Group 5
|
| 7 |
Apr 20 |
Comment |
I like this, but I would have liked you to stand a little to the left and include those beautiful green ceiling arches more. Then you would have a contrast between the near chandelier and the far arches. |
Apr 12th |
1 comment - 0 replies for Group 7
|
| 8 |
Apr 20 |
Comment |
We were there about ten years ago on a tour from Chennai south and around to Kerala. How nice to see the place through your eyes and hear your story. I like that you photographed a detail. |
Apr 12th |
1 comment - 0 replies for Group 8
|
| 14 |
Apr 20 |
Comment |
This is a very charming shot. It makes me remember when my daughters were doing this. My older one grew up to be a semi-professional instructor.
See also Group 16 this month for another jumping shot. |
Apr 14th |
1 comment - 0 replies for Group 14
|
| 16 |
Apr 20 |
Comment |
This is a tremendously dramatic shot, the way you processed this. Congratulations.
See also Group 14 this month for another jumping shot. |
Apr 14th |
1 comment - 0 replies for Group 16
|
| 19 |
Apr 20 |
Comment |
Since I have been there before, this is instantly recognizable, and great fun to see a familiar place. I like your careful exposure to show off the arched ceiling. |
Apr 8th |
1 comment - 0 replies for Group 19
|
| 20 |
Apr 20 |
Comment |
This is a fine result, with a unique type of filter.
Please tell us the exact location of this lighthouse. Thanks. |
Apr 15th |
| 20 |
Apr 20 |
Comment |
I find the colored rectangles an interesting experiment, but I really, really like the way you have taken a natural pattern and made it into an abstract composition. I hope you keep experimenting with the pattern of that little branch. |
Apr 12th |
2 comments - 0 replies for Group 20
|
| 26 |
Apr 20 |
Comment |
This is a very sensitive, as well as well-composed, shot. It is honest. You did well to get a good shot of both men's faces--essential to the shot.
Have you gone back to South Africa often?
My wife was there 14 years ago on an educator's Fulbright-Hays grant for a month, and it changed her life, personally and professionally. |
Apr 8th |
1 comment - 0 replies for Group 26
|
| 27 |
Apr 20 |
Comment |
Great time of day for this shot. I love that you caught the rising moon.
I always like to point out that we have all "visited" Cinque Terre when we have been to our doctors' offices and the walls are adorned with reproductions of Cinque Terre and Santorini. |
Apr 8th |
1 comment - 0 replies for Group 27
|
| 29 |
Apr 20 |
Comment |
My wife and I were there in January 2005, and it was also bad weather then.
The great features are the karsts, so the more you can show of them, the better. Do you have any shots with more karst and less water?
Here is the best I could do on my trip. |
Apr 8th |
 |
1 comment - 0 replies for Group 29
|
| 31 |
Apr 20 |
Comment |
This is a nice formal composition of an interesting interior. But I have no idea where it is. I would like very much to hear about your visit there. |
Apr 7th |
1 comment - 0 replies for Group 31
|
| 32 |
Apr 20 |
Comment |
Sure, Jennifer. I should have posted the original. Here it is.
I did the following: basic desaturation, overall lightening of shadows, a touch of sharpening, and a slight crop. |
Apr 18th |
 |
| 32 |
Apr 20 |
Comment |
I like this very much, although I might have brought the entire cutting board and knife into the picture.
Gosh, that looks like a good piece of cheese--what is it?
I much prefer the monochrome. I admit that I don't care at all for the green tints in the wine glass, but it looks great in the monochrome version.
I think this comes out better in monochrome because, as it says in our Digital Dialog guidelines about monochrome, "A monochrome image often expresses ranges of tones and textures that a color picture finds difficult. It is a most creative medium often able to express subtle emphasis of mood and feeling." |
Apr 11th |
| 32 |
Apr 20 |
Comment |
Have a look at what Gloria Sprung in Group 58 has done this month with a similar problem. |
Apr 10th |
| 32 |
Apr 20 |
Comment |
I think the contrast is fine, and the image is really sharp, nor can I see any hint of the area you worked on. But I can't make out both legs, and part of its breast is blocked by the cactus. |
Apr 7th |
| 32 |
Apr 20 |
Comment |
About that central window frame--an interesting point that can be a problem or an advantage. If you have some patience and can wait for the passers-by to take their poses, you might be able to capture two good scenes in each section of the windows. For this I refer all the way back to my favorite painting of "split scenes," Gustave Caillebotte and his painting of a Paris street on a rainy day. I believe he invented the split scene composition with this painting. |
Apr 6th |
 |
| 32 |
Apr 20 |
Reply |
Thanks, Tom. These open air meat markets in the Far East are not smelly, but it frightens us to think of buying meat that has sat out all day in the summer. We never did that when we lived in Taipei in 19888-89--we always used the modern supermarkets. But what DOES smell (in Taiwan) are the lunch counters in the markets, with their fermented tofu lunch bowls. Nevertheless, I came to love "stinky tofu," but it first took me a year to build up courage to try it. |
Apr 5th |
| 32 |
Apr 20 |
Reply |
Diana, much improved. Thanks for the ideas. No matter how much I look at my shots and do forethought, pretending I am all of you, I still can't see what's needed. That's what our group is for! |
Apr 5th |
| 32 |
Apr 20 |
Comment |
Looks to me like you got everything you wanted in this, and the conversion to monochrome looks good also. Compositionally, if you had stepped back a bit to show the viewer that you were in a cafe, that might be better context. Show the table by the window where your are, with its cute service pieces, maybe a menu at a diagonal orientation. You could include or not include a couple or group at the table. Just possibilities if you want to say "cafe window" but it's also fine like this. |
Apr 2nd |
| 32 |
Apr 20 |
Comment |
Good subject matter. I love to shoot the undersides of bridges and superstructures. Here are my suggestions, according to what I tried out in PS: remove the outside on the left, make it symmetric and straight with image transform options, darken, increase contrast, add a bit of sharpening. |
Apr 2nd |
 |
| 32 |
Apr 20 |
Comment |
The light bulbs, right? You are all going to tell me about the light bulbs. Yes, now I see it. Thanks. |
Apr 2nd |
| 32 |
Apr 20 |
Comment |
I like the colors in the color version. As for the monochrome, it does have a somewhat desolate mood a la Ingmar Bergman, but not very strong. Adding a "grit" filter of some sort, as I have seen other demonstrate, might improve that.
The problem of imparting motion to an underground car is not easy. Here is one attempt I made in my local Metro system, where I showed the motion of the car--without the car in the picture. |
Apr 2nd |
 |
| 32 |
Apr 20 |
Comment |
Looks great and I like keeping the silos in for context.
This has a lot of impact for me personally. Living in Maryland, we are not far from Lancaster, and we have passed through there a few times in our east coast travels. One time, we stopped for a meal at one of those famous family-service restaurants. The food was fabulous. Then, we looked out the window of the restaurant and saw EXACTLY this scene--a young woman driving a team like this. It was spring and she was plowing up the earth. As she made a turn at the near end of the field; she saw us staring at her and flashed us a wide friendly smile. |
Apr 1st |
10 comments - 2 replies for Group 32
|
| 33 |
Apr 20 |
Comment |
Yes, you have a clever composition, as Tom points out.
This, by the way, is the reason to never enter an abandoned building--there is a real danger of them collapsing as one enters. |
Apr 7th |
1 comment - 0 replies for Group 33
|
| 35 |
Apr 20 |
Comment |
I would not have expected a centered straight-away shot like this to work, but this is extremely successful. I like everything about it: the sharpness, the dark sky, the contrast between the textures of the wall and the plants. Inevitably, you must compare this to Ansel Adams' Taos Pueblo shots, and I think you do pretty well. |
Apr 15th |
| 35 |
Apr 20 |
Comment |
A portrait of the person, "without the person," is always interesting. This is nicely done. |
Apr 7th |
2 comments - 0 replies for Group 35
|
| 36 |
Apr 20 |
Reply |
This comes from my lightweight study of Asian, especially Chinese, art. We grew fond of it when we lived in Taipei for a couple of years in the 80s. Here is a sample from our wall. The boat is tiny in the grand landscape, and the people almost microscopic. |
Apr 8th |
 |
| 36 |
Apr 20 |
Comment |
I would love to visit the coast of Italy, especially after seeing this charming shot.
Larry's dilemma, for me, is solved by preferring too much sky, because I almost always opt for a grander view of nature when compared to the works of humans. This implies a statement that the works of humans are small compared to the works of nature. |
Apr 7th |
| 36 |
Apr 20 |
Comment |
This is a stunning shot. I am in Monochrome Group 32, so I took Larry Treadwell's suggestion to crop a bit from the left, and desaturated to monochrome to show and discuss, if you like. |
Apr 7th |
 |
2 comments - 1 reply for Group 36
|
| 39 |
Apr 20 |
Comment |
I think this is a fine composition. I particularly like how you took advantage of the indirect light streaming across the room (from an open window or door?). |
Apr 11th |
1 comment - 0 replies for Group 39
|
| 45 |
Apr 20 |
Comment |
Lovely shot. With such great depth of field and both great foreground and background, what was your lens focal length and how far were you standing from the nearest flowers? |
Apr 6th |
1 comment - 0 replies for Group 45
|
| 48 |
Apr 20 |
Comment |
I think you have a fine portrait model, and absolutely perfect lighting. I love to shoot this very same type of lighting for portraits. I think is is equivalent to the northern lighting that artists often prefer for their studios. My Group 32 is a monochrome group, so here is your shot in monochrome. |
Apr 6th |
 |
1 comment - 0 replies for Group 48
|
| 49 |
Apr 20 |
Comment |
This is one of those situations where breaking a rule might work. I think the walker with one foot actually touching the edge of the frame in Larry's crop feels like he has just walked into the frame from the surrounding space of my computer screen. |
Apr 10th |
| 49 |
Apr 20 |
Comment |
I like the big sky--the way it enhances the loneliness of the stay-at-home situation.
I suggest a little straightening, as attached. |
Apr 10th |
 |
2 comments - 0 replies for Group 49
|
| 74 |
Apr 20 |
Comment |
Merhaba Ata, this is nicely done. I particularly like that your young man is sitting on a compressed box--it makes it look like his weight of cares is very great.
(See this month Groups 3 and 14 for other images from Turkey.) |
Apr 13th |
1 comment - 0 replies for Group 74
|
| 80 |
Apr 20 |
Comment |
You did well to grab this shot at a moment's notice.
The car is in good condition, clean, and somewhat shiny. I think the stickers are timed parking permits, indicating that these people have parked in an urban environment. The lady is wearing a dress, has prescription glasses, wears her shoulder belt, and has a small fan blowing on her. The driver has gloves on the dashboard. The cargo on top has no furniture on it. I think these folks are coming or going to their market stall with their products, and, for Costa Rica, are probably working middle class. Have I read this all wrong? Should the title be "To Market"? |
Apr 10th |
| 80 |
Apr 20 |
Comment |
This is a great subject. OK if you want to work on darkening bright spots, but they don't bother me. On the other hand, I like the spacious framing as it is now, giving a lot of context, and would prefer it not to be cropped down.
I am attaching my favorite rainy day painting, by Gustave Caillebotte. I think all paintings and photographs of a couple walking on a city street derive from this original. I think Caillebotte invented the "split frame" composition in this painting. |
Apr 3rd |
 |
2 comments - 0 replies for Group 80
|
| 95 |
Apr 20 |
Comment |
this is a very successful shot. Sooooo hairy.
By the way, everyone, insects have six legs, and bugs are a subset of insects. Spiders have eight legs, and are NOT insects--they are arachnids, which includes scorpions. |
Apr 8th |
1 comment - 0 replies for Group 95
|
40 comments - 5 replies Total
|
