|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 2 |
Oct 20 |
Comment |
Great job of getting a good image of street action.
I Googled "May 2016 Riot in Lyon France" to find out that this was part of nationwide street protests about proposed revisions to the labor laws. |
Oct 6th |
1 comment - 0 replies for Group 2
|
| 5 |
Oct 20 |
Comment |
This is well done. I like to note similar subject matters in the Groups. This month, folks have done blurred images in several groups:
Freddie Kelvin in Group 5.
Phillipa Frederiksen in Group 86.
Ian Cambourne in Group 76. |
Oct 15th |
1 comment - 0 replies for Group 5
|
| 7 |
Oct 20 |
Comment |
Hi Tom,
I love everything about this, including the roof. |
Oct 29th |
| 7 |
Oct 20 |
Comment |
Oh yes, you certainly did find the image within the image! How I wish we were all so fortunate as to be able to do what you did here. |
Oct 12th |
2 comments - 0 replies for Group 7
|
| 8 |
Oct 20 |
Comment |
Hello Snehendu,
You continue to show us such interesting scenes of culture and tradition. Can you tell us about what the principal dance is doing: her headdress and what looks like paper money in her mouth. Is she about to drop the money into a little flame and burn it? Burning money, or pretend money, is done in far eastern cultures as a symbolic sending of good wishes to heaven, I think. Am I right or wrong about that? |
Oct 12th |
1 comment - 0 replies for Group 8
|
| 16 |
Oct 20 |
Comment |
You have been very clever with your mirroring of the reflection in the water, giving sharp grasses, but blurry trees and water. I very much like mirroring, but have only used it for architectural shots when only half of a symmetric building was viewable, so the mirror image makes a complete shot of the building. |
Oct 12th |
1 comment - 0 replies for Group 16
|
| 17 |
Oct 20 |
Reply |
No need to count the heads. You know the old joke: legs divided by four. |
Oct 12th |
0 comments - 1 reply for Group 17
|
| 18 |
Oct 20 |
Comment |
You have captured wonderful shadows in your original shot. They seem almost to be vibrating or moving as I look at them.
The serpentine path is great.
Congratulations. |
Oct 12th |
| 18 |
Oct 20 |
Reply |
It looks like the software for the site is interpreting two words with a period between, and no intervening spaces, as a web address, and tries to make it into a hot link. Try to leave a space, or two, after a period, and see if that works. |
Oct 12th |
1 comment - 1 reply for Group 18
|
| 19 |
Oct 20 |
Comment |
I like this just as it is.
I think the cloud is a great asset to the composition. It balances the boat. It is a reflection of the boat. It is a boat in the sky. It is the boat's dream of freedom. Etc.
Did you plan and wait for the cloud, or was it just there? |
Oct 12th |
1 comment - 0 replies for Group 19
|
| 20 |
Oct 20 |
Comment |
Looks just like a Degas painting. Well done! |
Oct 29th |
1 comment - 0 replies for Group 20
|
| 23 |
Oct 20 |
Comment |
Hi Giuseppe,
These experiments are truly interesting. I am guessing that you zoomed in or out for the entire exposure interval. I am wondering if you zoom for half the exposure interval, and then leave fixed focus for the other half--that would give you a combination of a sharp image and a zoomed halo. This would be another experiment.
You can also get that effect using post processing radial zoom, with a great deal of control over the size of the central zone that is in sharp focus, and the degree of zooming.
I must try some of this stuff myself. I like all of your experiments. |
Oct 29th |
| 23 |
Oct 20 |
Reply |
That's great. Thanks for taking on the experiment. |
Oct 12th |
| 23 |
Oct 20 |
Comment |
Giuseppe, this clever technique you used is very successful. I get the feel of the original scene very well, but receive the emotional interpretation of the zooming.
To address Dave's question, you said you zoomed out from a focus on the creek, so you had a short interval at close range in focus, then the rest of the exposure was constantly zoomed.
Dave, that means in the reverse, the brief sharp focus would have been on the wide angle view, and then the zooming would take place. So the effects would be somewhat different. It would be worth an experiment if you feel like doing it and reporting to your group (and me?). |
Oct 12th |
| 23 |
Oct 20 |
Comment |
This is a successful shot. It is SO hard to get a good polo shot. Over the 10 years that I have been in these Digital Dialogues, I have seen a number of tries at polo shots--often the photographer takes 300 shots to get a single acceptable one. I think your judge is right, but their comment is for the ideal shot. You are right to like your shot. |
Oct 12th |
3 comments - 1 reply for Group 23
|
| 25 |
Oct 20 |
Comment |
Great capture with a wide-angle.
I Googled "Japan Wooden Bridge." Evidently this is the most famous wooden bridge in Japan, because I immediately found out this is the Kintai Bridge in the city of Iwakuni, in Yamaguchi Prefecture, and it has a substantial Wikipedia entry, as well as this Hiroshige print. |
Oct 29th |
 |
1 comment - 0 replies for Group 25
|
| 26 |
Oct 20 |
Comment |
I love urban and architectural shots empty of people. I like this very much. I agree with all of Jose's comments. I am in monochrome group 32, so I am noting that I think this also looks great in monochrome. |
Oct 12th |
 |
1 comment - 0 replies for Group 26
|
| 28 |
Oct 20 |
Comment |
Nice going. This is so different from so many of the other Palouse shots. The simplicity is great. I think this renders well in monochrome as well (I am in monochrome group 32). |
Oct 12th |
 |
1 comment - 0 replies for Group 28
|
| 29 |
Oct 20 |
Comment |
This is a really interesting shot, because as I see it, it is a combination of a color shot and a monochrome shot, and the two work very well together--quite rare. Congratulations. |
Oct 12th |
1 comment - 0 replies for Group 29
|
| 32 |
Oct 20 |
Reply |
Thanks for visiting, Marge.
Many of the groups have great and active conversation. I am happy that our #32 is one of them. Several of us are charter members, and have been yammering at each other for over ten years. |
Oct 29th |
| 32 |
Oct 20 |
Reply |
Judith, I am not finding it, unless (no sailing experience here) that is how you refer to his navigation book? |
Oct 13th |
| 32 |
Oct 20 |
Reply |
Hi Judith, thanks for visiting, and for your comment. Yes, let's have more pictures of the objects of our interests.
I know very well who Nathaniel Bowditch was, having read the fictionalized biography, Carry On, Mr. Bowditch, when I was a teen. I even know how to pronounce his last name. But I don't know what a bowditch device is, and can't find it with Google. Can you show here a picture, or give an explanation? Thanks. |
Oct 13th |
| 32 |
Oct 20 |
Reply |
Thanks for visiting, Henry. We hope to travel to Seattle next year to see our children and grandchildren there, but are trying to work out a safe method of travel. |
Oct 13th |
| 32 |
Oct 20 |
Reply |
This works. The vase appears to rest on the bottom edge of the frame, so the young woman appears to be just touching it, not holding it. |
Oct 13th |
| 32 |
Oct 20 |
Reply |
What a wonderful story about knots that tie us all together!
In my basic knot book, Knots and Splices by Percy W. Blandford, this is called a Turk's Head knot, for its similarity to a turban. I made a bracelet for my wife a long time ago in this pattern from a fairly stiff line, so it could stand by itself. Unfortunately, neither of us know where it is now. I also made her a woven belt using a Bos'n's Plait (or Portuguese Sennit knot), and that is lost also. |
Oct 12th |
| 32 |
Oct 20 |
Reply |
Surely I can persuade you to show an image of your knotting here also? |
Oct 12th |
| 32 |
Oct 20 |
Reply |
Good idea. Here is a rough darkening of the bottom right. |
Oct 9th |
 |
| 32 |
Oct 20 |
Reply |
Did you make a display board of the knots? How about an informal image right here to show?
My G10 was the last model before the low-light capability was improved. I love my G10, but I will also be eager to get the most recent G-series when mine dies. |
Oct 9th |
| 32 |
Oct 20 |
Reply |
"Lens correction," as far as I know adjusts for pincushion or barrel distortion that is truly a distortion artifact of the lens. It is most evident if there are a lot of parallel lines in an image, as in some building facades.
But the perspective tapering of tall buildings is best approached with "perspective" or "skew." Perspective is not a distortion--it is a valid property of your point of view, whether seeing it with your eye or with a lens. |
Oct 9th |
| 32 |
Oct 20 |
Comment |
I think Diana's eye contact comment is valid--but as an alternative to what you did. Eye contact would create a relationship between the Fairy Doll and the viewer in a real world. This image as taken tells a story of a world we don't enter, but view from outside, as if through a lens (multiple meanings intended). |
Oct 9th |
| 32 |
Oct 20 |
Reply |
Thanks, the image with its boat and rope curves just presented itself to me. But I shot this a dozen times, and arranged the rope loops carefully to get this pattern, spacing the loops out a bit. |
Oct 8th |
| 32 |
Oct 20 |
Reply |
Oh, I just read Russ's comment about the bottles in the window--such a good observation--and talking about not noticing, I had not noticed them!
About the perspective, my PS Elements has several controls for stretching and pulling an image. The one most people might choose is "perspective," but I don't use it so much because it is left/right symmetric, which is fine if your image is perfectly centered and needs adjustment equally on both sides. I prefer to use "skew" which allows each side to be adjusted separately--more on the right in this image. "Skew" can be pulled up/down/left/right, but for this image I only pulled the left side to the left and the right side (a bit more) to the right.
Since your eye actually sees the same tilt as the camera--but your brain diminishes it--I left a hint of tilt in my suggested image, which I find more pleasing than complete straightening.
All such perspective changes are actually "distortions," not "corrections," since the camera image is optically as correct as your eye. Interestingly, your eye has no such trouble with perspective convergence to the left or right, like streets running off to a vanishing point--no one feels the need to "correct" that perspective. But oddly, we have trouble with vertical perspective. |
Oct 8th |
| 32 |
Oct 20 |
Comment |
Yes, it does look fairly good. You got a good model with an engaging smile, and the pose with the ceramic is excellent.
Critically, I think it would have been nice to see her entire lower hand--nothing else to comment on.
But--how about telling us the story of where you went to get this shot and how you negotiated permission to get it. |
Oct 8th |
| 32 |
Oct 20 |
Comment |
This is a good shot of one of the Bodie houses--I feel like I have been there, after seeing dozens of images from there over the last ten years in our Digital Dialogues.
Contrast and sharpness are very good. I don't find the sky too dark. I think it differentiates very nicely with the tone it has (Diana would have made it darker). Yes, it would be nice to remove the wires. About the foreground, it would be a bit better to have a bit more, but I don't think you need bother.
One special comment. You tilted the camera up to get this, so there is some "lean-back" perspective to the house. I like to keep that in for tall buildings, like skyscrapers, to emphasize the soaring height, but for buildings of three stories or less, it sometimes helps to alter the perspective. In the attached sample, I did not quite completely straighter the vertical parallels, but left a slight hint of the vertical perspective. What do you think? |
Oct 8th |
 |
| 32 |
Oct 20 |
Comment |
Looks great, and a totally interesting subject. Your accompanying story is so informative and personal (there are way too many images in these Digital Dialogues that don't provide much text in their stories). |
Oct 6th |
| 32 |
Oct 20 |
Comment |
I have SO MANY reactions to this. Wow. Here is my list.
1. You are being true (and creative) to your Summer of macro work. Bravo. This is very interesting.
2. As usual, it is very high contrast, and looks great. I like solid black for the background, myself.
3. Good point about the imperfections at the edge--that really adds a layer of interest, coupling a completely abstract composition a bit to the reality of material.
4. I can't begin to decipher exactly what this is--it comes out entirely abstract, and I think that's fine.
5. Back to our frequent discussions about where the "stem" emerges from the frame. You obviously carefully chose to have it touch the bottom edge of the frame. Setting aside my past discussions about it coming out of the corner, I think you made a good choice for this.
6. The only thing I can add to this is to suggest that, in my view, it demands to be part of a series of six or more images, each conveying a variety of forms, but having an overall unity to the project. I don't know where you could submit such a project for competition, but I think the entire project would have more impact than a single image. |
Oct 6th |
| 32 |
Oct 20 |
Reply |
How is this? |
Oct 2nd |
 |
| 32 |
Oct 20 |
Reply |
Yes, I think you are right. I amaze myself at my inability to critically evaluate my own images. Vive la conversation de groupe! |
Oct 1st |
| 32 |
Oct 20 |
Comment |
Great advanced planning of how you wanted the shot to come out in the end. I like the change to a formal, uncluttered background.
How about telling us the story of the shoot? What was the event, how did you come to shoot it, and was this anyone you knew? Are they rehearsing or performing a named ballet? |
Oct 1st |
| 32 |
Oct 20 |
Comment |
That's a pretty delicate job of correcting the belt area--looks perfect. The old-time tint and frame look great.
My only possible compositional comment might be that I don't feel like the cowboy is look straight at the camera, and that might have had more impact. His casual pose, however, is just great. |
Oct 1st |
| 32 |
Oct 20 |
Reply |
Hello Ata, you are so dependable to show up on the first of each month. Thank you.
This was shot with my Canon G10. I prefer it to a larger camera because it can take a good picture, has full manual controls, and I can slip it into my pocket. I gave up several things in choosing a compact camera: it has only four f-stops and is not so good in low light (but the newer G-series cameras are better in low light). |
Oct 1st |
7 comments - 15 replies for Group 32
|
| 36 |
Oct 20 |
Comment |
Me too about wishing I had no idea what I was doing.
Great subject, good exposure, just right space on all four sides, and shooting from off-center on the causeway--classic.
Getting inside architecture is also interesting, like shooting from inside the arcade down along the row of arches. |
Oct 1st |
1 comment - 0 replies for Group 36
|
| 37 |
Oct 20 |
Comment |
Hello Bob,
This is a fine shot of a touristic building. My only comment is to consider the touchy question of altering the perspective that results from looking up at the building. It is actually what your eye sees, but your brain tends to filter it out. So what to do? I suggest using "skew" in Photoshop to lessen--but not completely--the effect. Only professional architectural photographers will remove the vertical perspective entirely. |
Oct 12th |
 |
| 37 |
Oct 20 |
Comment |
Oh yes, I so agree with you that you don't need a "point of interest" in every such image. When the subject is lines, patterns, shadows, convergences, those are the subject. And such empty or stark images are profound discussions of emptiness, calm, tranquility, loneliness, or isolation, depending on what you shoot and how you present your image.
Congratulation on a good eye and a good shot.
You might consider rendering this in monochrome. I am in Monochrome Group 32 and am always on the lookout for monochrome subjects.
P.S. Our youngest daughter lived on Orcas for a year or so about 10 years ago, and we made several trips there to visit her and this most interesting place. |
Oct 12th |
2 comments - 0 replies for Group 37
|
| 38 |
Oct 20 |
Comment |
This is well done. I like to note similar subjects in the groups. This month, there are two sand sculpture images:
Marge Barham in Group 38.
Jerry Paskowitz in Group 93. |
Oct 15th |
1 comment - 0 replies for Group 38
|
| 41 |
Oct 20 |
Reply |
Hi Henry, thanks for visiting my group 32. I admire your vigor in making sure as a tourist that you see everything when you travel. I like very much the stories about getting to the places as well as how the photos were shot.
My wife and I visited Rio a couple of years ago. She was invited by one of her senior citizen students who has a home there. My wife just retired from teaching Philosophy at the local community college.
I looked at your bio. I lived outside of Minneapolis when I was in 6th and 7th grade, and studied state history at that time. I used to know the names of all five iron ore ranges. |
Oct 12th |
| 41 |
Oct 20 |
Comment |
Your subject matter is very interesting, and I like what your colleague, Brad, suggested about minimizing the color treatment.
I see that this favala has electricity. The jumble of wires running into it is a good social commentary. Do you know if there was good water and sewage? |
Oct 12th |
1 comment - 1 reply for Group 41
|
| 50 |
Oct 20 |
Comment |
Shooting shadows without showing the original object is a fascinating study. One not only thinks about the nature of the original object, but they are interesting patterns in themselves, as you point out.
Suggestion: shoot a bunch more of these at different times, and different conditions, and make a collection for showing. |
Oct 12th |
1 comment - 0 replies for Group 50
|
| 51 |
Oct 20 |
Comment |
This is a nice shot, both your original, and your finished image. If you don't mind me suggesting it, how about a finished image in which you do NOT apply the Painteresque effect to just the artist's canvas. That inversion would have the effect of a joke about effects. |
Oct 11th |
1 comment - 0 replies for Group 51
|
| 60 |
Oct 20 |
Comment |
You got a sharp image here, and got all the action in the frame, so that's good.
But you are right about the problem of not seeing the man's face, nor his entire figure. And there isn't a good view of his teammate's face.
For your next try, look for either a view of the roping action, or the moment when the man's feet plant into the ground. I don't shoot rodeos, but our Digital Dialogues have had lots of rodeo shots over the years, so I am basing my comments on that. |
Oct 11th |
1 comment - 0 replies for Group 60
|
| 64 |
Oct 20 |
Comment |
I am a rope and knot hobbyist, so this is a delightful shot for me. I can trace how the mooring line was tied around the cleat. The final loop that secures the line is a handsome and functional last step. Very neat of your friend to coil the excess line.
See my boating line shot this month in Group 32. |
Oct 14th |
1 comment - 0 replies for Group 64
|
| 66 |
Oct 20 |
Comment |
Hi Melanie, this is a charming street scene. I especially like the table cloths. The composition and somewhat French name makes me think of this Van Gogh. |
Oct 27th |
 |
1 comment - 0 replies for Group 66
|
| 73 |
Oct 20 |
Comment |
This is nicely done. I like to spot similar subjects in the groups. This month, two members have shown the Sydney Opera House:
Ian Cambourne in Group 73.
Phillipa Frederiksen in Group 86. |
Oct 15th |
1 comment - 0 replies for Group 73
|
| 74 |
Oct 20 |
Reply |
I like this one very much. I think it solves all the problems: closer to the subjects, and shows the pile of materials--which I now understand you want to show, and that is a good idea. |
Oct 2nd |
| 74 |
Oct 20 |
Comment |
Ata,
As always, you tell the story of what we see, and the contrast with the past.
I would suggest a closer view of the hands of the man on the right and less of the blurred foreground. What do you think of this crop? |
Oct 1st |
 |
1 comment - 1 reply for Group 74
|
| 76 |
Oct 20 |
Comment |
I like to note similar subject matters in the Groups. This month, folks have done blurred images in several groups:
Freddie Kelvin in Group 5.
Phillipa Frederiksen in Group 86.
Ian Cambourne in Group 76. |
Oct 15th |
| 76 |
Oct 20 |
Comment |
Bravo for trying this out. If I were given this assignment, I think I might have tried radial blur either using the focusing ring on the lens while shooting at a slow shutter speed, or adding it in post-processing. |
Oct 3rd |
2 comments - 0 replies for Group 76
|
| 77 |
Oct 20 |
Reply |
I see, yes, I think you are right about not opening up shadows too much. If you had leading lines going backwards, they would express the depth, but you don't in this case. Only the deepening shadow expresses the depth. Good point. |
Oct 1st |
| 77 |
Oct 20 |
Comment |
This is a striking portrait of a machine, and a great item in your series. I feel very strongly that titles are important. Perhaps your series title could be "Machines That Go." This one could be "Leaf Spring No. 6," and I am intentionally joking by adding on the "No. 6."
My colleagues in my home Monochrome Group 32 are always telling me to increase contrast, and that while blown-out whites cannot be saved, dark areas can be drawn out. So I am suggesting the attached changes, which I did in PS Elements, using overall adjustments: "Lighten Shadows," "Darken Highlights," and increased "Mid-Tone Contrast." I did not increase sharpness, but you might try a small touch of that control. What do you think? |
Oct 1st |
 |
1 comment - 1 reply for Group 77
|
| 78 |
Oct 20 |
Reply |
Looks great, Brenda.
I don't know much about competition, so I can't suggest anything about that, but if you had a stall at a community market and about 50 of these with you, I think you would sell a lot of them. |
Oct 24th |
| 78 |
Oct 20 |
Comment |
Hi Brenda,
Your new version is completely different, and very good, hitting home on that old postcard style. The only suggestion I have is to not fade out the edges quite so much. I suggest about 75% of the effect you presently have--just my taste, however. |
Oct 11th |
| 78 |
Oct 20 |
Reply |
Jason, this is a very interesting discussion for you to bring forward--about rotating the image. Of course many images will not be suitable for that, but this one is. I have been in these Digital Dialogues for 10 years, and have only seen one other instance where someone suggested this sort of rotation, and it made a lot of difference in that case. Thanks for sharing the concept with everyone. |
Oct 10th |
| 78 |
Oct 20 |
Comment |
Sunil, this is a great rescue--your efforts have paid off. It is a fine study in light and shadow.
I think you might make additional crops and choose several different images here: one that includes the water, and another that is a close-up of only the lone figure and their shadow. |
Oct 1st |
| 78 |
Oct 20 |
Comment |
Hi Brenda,
This is so much better in monochrome, speaking of drama and tension, in opposition to tourism-poster-sunny-happiness. You have the water dead level, but I feel a bit tilted by the verticals, so try this slight "skew" adjustment. |
Oct 1st |
 |
3 comments - 2 replies for Group 78
|
| 79 |
Oct 20 |
Reply |
Thank you, that is very interesting. |
Oct 4th |
| 79 |
Oct 20 |
Comment |
Hi Karl, this is a really interesting and original combination of subjects, not at all ordinary. Does this owe a reference to Stieglitz's Equivalents photographs? |
Oct 3rd |
1 comment - 1 reply for Group 79
|
| 80 |
Oct 20 |
Comment |
This is nicely done subject matter. I like to spot similar subjects in the groups. This month two members have shown rainy day images:
Bill Foy in Group 80.
Albert Lee in Group 92. |
Oct 15th |
| 80 |
Oct 20 |
Reply |
Yes, could be Cappadocia, and that hillside could be the soft sandstone typical of the area. |
Oct 10th |
| 80 |
Oct 20 |
Comment |
Hi Beverly,
Your travels are great. You captured the real life of Turkey with this image. This woman is, I think, taking cut flowers to market. Even 22 years ago, there were not so many donkeys and camels in use. Do you recall the location? |
Oct 3rd |
2 comments - 1 reply for Group 80
|
| 81 |
Oct 20 |
Comment |
This is really interesting and highly original.
Perhaps you might put a white stroke around it to differentiate it from the black background here in the Digital Dialogue page.
Also, I think I see that the "traces" are not identical. Did you create each trace separately? |
Oct 1st |
1 comment - 0 replies for Group 81
|
| 82 |
Oct 20 |
Comment |
This is a wonderful shot. I like the combination of the two memorials because for a DC-area resident like me, I recognize everything.
It's just a tiny bit not level, but that affects the feel of the image, and it would make a big difference to correct that. |
Oct 10th |
1 comment - 0 replies for Group 82
|
| 83 |
Oct 20 |
Comment |
You are having a very comprehensive discussion about where to plan for the moon to be in this wonderful shot.
I will note that the Parthenon in Athens has deliberately un-straight columns in order to impart a slight dynamic sense in the viewer's brain. Similarly, here, I agree with Joe that a slight unbalance injects energy into his image. |
Oct 26th |
| 83 |
Oct 20 |
Reply |
Hi Judith,
I recall the depth of your sailing experience mentioned in previous months. Yes, there are so many views to experience and express with our cameras. I love these conversations about seeing and feeling the subjects of our images.
See my shot of lines in Group 32 this month! |
Oct 13th |
| 83 |
Oct 20 |
Comment |
Hello Debasish,
This abstract, yet completely realistic, image really resonates with me for a personal reason. My wife is Turkish, from Izmir, and we have a summer house near the Aegean coast. Every day when we are there, we go swimming in the clear sea water. If we are there at midday, the sun makes these same patterns in the water, and we feel like we are swimming amidst a sea of glittering diamonds. It is a very poignant memory for us, and very emotional each year when we take our first summer swim there. We could not go there this year for the first time in 20 years. How we miss it. Thanks for this image. |
Oct 10th |
2 comments - 1 reply for Group 83
|
| 86 |
Oct 20 |
Comment |
I like to note similar subject matters in the Groups. This month, folks have done blurred images in several groups:
Freddie Kelvin in Group 5.
Phillipa Frederiksen in Group 86.
Ian Cambourne in Group 76. |
Oct 15th |
| 86 |
Oct 20 |
Comment |
I like to spot similar subjects in the groups. This month, two members have shown the Sydney Opera House:
Ian Cambourne in Group 73.
Phillipa Frederiksen in Group 86. |
Oct 15th |
| 86 |
Oct 20 |
Comment |
This captures the spirit of the opera house architecture, but imbues it with a personal interpretation of its structure. Well done.
I think it likely that if you had titled this "Guess What," that at least 90% of the viewers would immediately recognize it. Therefore, again, well done. |
Oct 10th |
| 86 |
Oct 20 |
Comment |
You could also consider another color, or even a color gradient effect. |
Oct 3rd |
 |
| 86 |
Oct 20 |
Comment |
Hi Tom, this is a very clever exercise. I love to look at those fractal patterns.
Could this possibly have more contrast, brightness, and a touch of sharpening? I tried that twice, totally messed it up the first time, and here is a second try applying less of those adjustments. What do you think? |
Oct 3rd |
 |
5 comments - 0 replies for Group 86
|
| 88 |
Oct 20 |
Comment |
This is a clever shot. Nice job of coloring the crayons.
One possible suggestion. You might reverse the colors of the green and yellow crayons, and the purple and blue, because then all five crayons would be in the same color order as the building behind. But ignore my comment is you specifically wanted to avoid that. |
Oct 3rd |
1 comment - 0 replies for Group 88
|
| 92 |
Oct 20 |
Comment |
This is nicely done subject matter. I like to spot similar subjects in the groups. This month two members have shown rainy day images:
Bill Foy in Group 80.
Albert Lee in Group 92. |
Oct 15th |
1 comment - 0 replies for Group 92
|
| 93 |
Oct 20 |
Comment |
This is well done. I like to note similar subjects in the groups. This month, there are two sand sculpture images:
Marge Barham in Group 38.
Jerry Paskowitz in Group 93. |
Oct 15th |
1 comment - 0 replies for Group 93
|
56 comments - 26 replies Total
|
