|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 5 |
Oct 22 |
Comment |
I like all of the positive things others have commented on: the pose, the model's expression, the perfect toss of the gauze.
I will add that the gush of indirect light from the window makes for excellent lighting.
On the other hand, I am guessing that neither your club nor the model wanted to shoot this nude, but I think the basic idea cries out for a nude and barefoot model. I would also suggest that getting rid of actually seeing the window might be a good alternative composition. |
Oct 6th |
| 5 |
Oct 22 |
Reply |
I think I like the B/W the best (my Group 32 is a monochrome group). |
Oct 6th |
| 5 |
Oct 22 |
Reply |
Yes, that's fine, or to my taste anywhere between this and your original, that is up to how you like your image. I agreed with Pete about not darkening out the background, as it shows where the rope is. |
Oct 3rd |
| 5 |
Oct 22 |
Comment |
Rope is a very neglected subject matter. It has built-in texture. You did a great job with this. I also would prefer less darkening. |
Oct 2nd |
2 comments - 2 replies for Group 5
|
| 17 |
Oct 22 |
Comment |
You did a spectacular job with this shot, and the stitching!
Another way to get a simple shot in similar situations is to shoot only half the church, then mirror and paste together two images--works in a pinch in a perfectly symmetric interior. |
Oct 2nd |
1 comment - 0 replies for Group 17
|
| 32 |
Oct 22 |
Reply |
Yes, but it's interesting where these conversations lead. If I add tools, then it might start to look a bit like Diana's image this month. On the other hand, hers was found as is, and mine is composed. If I added more tools, I think it might begin to look a bit like a diagonal Mondrian, which would please and amuse me. |
Oct 27th |
| 32 |
Oct 22 |
Reply |
So I gave it a rough try. How's this? |
Oct 26th |
 |
| 32 |
Oct 22 |
Reply |
Yes, that is a great idea. Thanks. |
Oct 25th |
| 32 |
Oct 22 |
Reply |
Very interesting point, Diana, that we are looking at a piece of landscape architecture. |
Oct 24th |
| 32 |
Oct 22 |
Reply |
Thank you, Diana. For this shot I took the trouble to use a tripod (something I almost never do, as I am lazy), but it was necessary here, and I was able to focus exactly on the textured surfaces, which were luckily all in one plane. |
Oct 24th |
| 32 |
Oct 22 |
Reply |
Jason, thanks for visiting and for your comments. |
Oct 14th |
| 32 |
Oct 22 |
Reply |
Thank you, Tom. |
Oct 12th |
| 32 |
Oct 22 |
Reply |
Thank you, Lynne. |
Oct 12th |
| 32 |
Oct 22 |
Comment |
Very successful post processing to make your final image. All these wrenches and spanners remind me of this famous Louis Hine image. |
Oct 12th |
 |
| 32 |
Oct 22 |
Comment |
The best thing about this is your excellent composition, standing offset for the view of these two buildings. A lot of people have shot Bodie from a lot of angles, and I have never seen this angle. Good choice. |
Oct 12th |
| 32 |
Oct 22 |
Comment |
This is an interesting project. Whatever the actual size of the magnet, it looks monumental in your image. The mirror surface of the ball is a great contrast. You also have interesting geometric shapes with which to compose: torus and sphere.
In this image, depth of field is hard to manage, as the near side of the torus is out of focus.
I agree that the paper on the right is a distraction. I suggest you have something else reflected in the sphere's surface, maybe yourself and your camera. |
Oct 7th |
| 32 |
Oct 22 |
Comment |
Very original, to have the flowers looking down. Good idea. |
Oct 4th |
| 32 |
Oct 22 |
Comment |
Tom, I love the tours you take us on in your trips.
Wes spotted the graffiti, and I agree it was a good shot to include it.
It looks like the upper beams are new. Was the upper structure rebuilt, and what about the roof? |
Oct 4th |
| 32 |
Oct 22 |
Comment |
Your composition is great: the curved path matching the curved rows of stones and curved row of flags. You had a good breeze for the flags, and the range of tones is very good. In the case of the bland sky, I think that is appropriate here--a more active sky might distract from the composition on the ground.
My only thought might be to be close enough to the nearest stone to read its inscription, but that would be a different kind of shot, and probably not what you intended here. |
Oct 4th |
| 32 |
Oct 22 |
Reply |
thank you, Wes. |
Oct 2nd |
6 comments - 9 replies for Group 32
|
| 36 |
Oct 22 |
Reply |
Thank you for being receptive. I am very interested in how perspective, and its alteration, is handled in photography. I would very much appreciate hearing back from you about this. |
Oct 6th |
| 36 |
Oct 22 |
Reply |
Yes, I agree that you have to be careful with the vertical lines. For this upward-looking point of view, I suggest that you alter the perspective ever so slightly to remind the viewer, maybe even unconsciously, that they are looking up. I altered the perspective to give a trace of convergence of the verticals. What do you think? |
Oct 2nd |
 |
| 36 |
Oct 22 |
Comment |
Yes, this is a fantastic finished image.
Like Gregory, I would like to ask for more information. For me, I want to know about the use of that lens. Did you shift it so there was no convergence of the vertical lines? |
Oct 1st |
1 comment - 2 replies for Group 36
|
| 49 |
Oct 22 |
Comment |
Wonderful temple shot. Is this a traditional Chinese religion temple, Buddhist, Confucian, or Taoist? Although I have been in many, I cannot read the signs. Please tell us some more.
Your colleagues have commented about the busyness of this image, but I must support your image because it's complexity correctly captures how such temples look.
I also applaud your capture of those wonderful light beams.
I suggest a tiny bit of straightening, like this. |
Oct 24th |
 |
1 comment - 0 replies for Group 49
|
| 59 |
Oct 22 |
Comment |
Interesting how well each of these demonstrates that basketball is a no-contact sport (smile)--as I was taught in high school gym class.
The "Original" image has a lot going for it:
1. Surprisingly, it is not the usual vertical composition under the basket. It is not cluttered like the other two images.
2. It has the horizontal (literally) element of the Harvard player being flattened--quite a bit of angular tension.
3. Oklahoma 10 is perfect: eyes clearly visible and looking at the basket, ball poised to shoot, at the height of his jump.
I don't think the other two players add anything, but neither do I think they detract anything. |
Oct 1st |
1 comment - 0 replies for Group 59
|
| 78 |
Oct 22 |
Comment |
The pastel effect is very pleasing, and the combination of the pastel house and pastel car works very well. I think this image would have been boring without the car.
It's too bad that the top of the house is cut off--can you shoot it again and step back a bit further?
I did a slight perspective alteration, using "skew" in PS. |
Oct 1st |
 |
1 comment - 0 replies for Group 78
|
| 82 |
Oct 22 |
Comment |
Prasad, yes I know that the Mahabharata is one of the great holy books of the world. Thanks again for telling us the story in such wonderful detail. One of the joys of these digital dialogue groups is to travel with colleagues all over the world through their monthly pictures. |
Oct 24th |
| 82 |
Oct 22 |
Comment |
Thank you for a fascinating story about your image. There are similar human pyramid competitions in Spain, but they lack the ancient heritage story. |
Oct 24th |
2 comments - 0 replies for Group 82
|
| 83 |
Oct 22 |
Reply |
Ah, then what a treasure the drawing is, and your memory of sitting for it. |
Oct 24th |
| 83 |
Oct 22 |
Comment |
Lance, this is a surprising subject matter for you, from my point of view. You connected it well with your narrative.
My wife and I have two sets of such street artist portraits hanging in our living room. One set of three is our children when they were young in 1988, and another set of our four grandchildren from two years ago. So this subject is poignant for me.
I think that copy work is a legitimate subject area for photographers, simply because we need to do a lot of it for practical reasons.
In your image, I see you left an edge showing, deliberately if I guess right, perhaps to show that this was an image of a framed drawing, not a copy floating in undefined space?
I have a question not about the photograph, but about the original art. Was the artist able to capture your looks as an individual satisfactorily, or did their work tend to be a generic "boy"? Our children's portraits are highly individualistic, but the grandchildren portraits are entirely generic. |
Oct 23rd |
1 comment - 1 reply for Group 83
|
| 87 |
Oct 22 |
Comment |
Your finished image reminds me of Escher's metamorphic drawings, the steady progression from one image element form to another. I think the strongest point of your image is its final impact showing such change from left to right, without regard to identifying what the image is or how it was made.
Pure concept. Very well done. |
Oct 23rd |
1 comment - 0 replies for Group 87
|
| 88 |
Oct 22 |
Comment |
I love it when you (and others like you) take us traveling all over the world and tell us about it.
It must have been quite chilly at that altitude, as I see the visitor dressed warmly.
I like that you included the colorful prayer flags in the upper left. |
Oct 22nd |
1 comment - 0 replies for Group 88
|
| 92 |
Oct 22 |
Reply |
Thank you for the details. Fascinating to see Turkish Delight being vended so far away. Your night market is truly international. |
Oct 21st |
| 92 |
Oct 22 |
Comment |
Lance, the crowd of possibly sinister people waiting in the distance adds interest to this fine image. |
Oct 21st |
| 92 |
Oct 22 |
Comment |
How about telling us exactly where this is? |
Oct 1st |
2 comments - 1 reply for Group 92
|
20 comments - 15 replies Total
|
