|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 17 |
Apr 23 |
Comment |
I have never seen a reverse vignette before. It seems entirely successful the way you did it. |
Apr 11th |
1 comment - 0 replies for Group 17
|
| 20 |
Apr 23 |
Comment |
I think this is pretty good and very original.
You could also Google "Fruit Carving" and select "Images" for ideas about straight fruit carving. |
Apr 2nd |
1 comment - 0 replies for Group 20
|
| 32 |
Apr 23 |
Comment |
The empty street captures the feeling as well. It is a funny inversion, since a real intermission of the theater would have a flood of people outside for 10 minutes. |
Apr 16th |
| 32 |
Apr 23 |
Comment |
Oh no, I much prefer the monochrome. The original does not celebrate colors, but the monochrome does celebrate the tones and contrasts. The composition is a classic shot--how lucky you are that you can go there often. I would not change a thing. |
Apr 6th |
| 32 |
Apr 23 |
Comment |
The town is a great shot, but I can't figure out how to work in the train without it overwhelming the left side of the image.
Maybe this ... maybe that ...
Maybe shoot from the other side so the train is smaller.
Maybe shoot at a different time of day with the sun behind you and the train not so black.
Maybe shoot with a long lens further back so the train does not appear so large.
Maybe shoot with no train at all, but clearly show the train tracks, especially from an angle that shows the track receding into the distance.
Ah, I wise I had been there with you trying out ideas. |
Apr 3rd |
| 32 |
Apr 23 |
Comment |
I can almost feel the texture of the handle, you got it so sharp. I agree with Wes about the separation from the background, and would suggest that it be even a bit stronger, perhaps with a little more post-processing blur of the background and/or a bit more darkening of the background. I also agree with Wes that the background should still be visible to tell the story. |
Apr 3rd |
| 32 |
Apr 23 |
Comment |
I think everything works in this shot. You nailed the sharp focus where it counts, and the rest of the bird out of focus is actually quite effective. It gives the falcon a sense of motion, rushing out of the image at the viewer. |
Apr 3rd |
| 32 |
Apr 23 |
Comment |
I was going to say the same thing about you usually going for high contrast, but I understand your approach here.
Comment: for high-key, I don't think it is high-key enough. I think everything EXCEPT the pilings should be higher-key, and the pilings darker. I also think the weeds should go, especially if you like the idea of higher-key where I suggested. |
Apr 3rd |
| 32 |
Apr 23 |
Reply |
Wes, thank you. |
Apr 3rd |
| 32 |
Apr 23 |
Reply |
Thank you, Som, I will give it a try. |
Apr 3rd |
6 comments - 2 replies for Group 32
|
| 62 |
Apr 23 |
Comment |
The subject is great, Pete, and I think the discussion of cropping is interesting. I see that discussion as a choice between composition (the cropped version) and context (your original). I agree with Bob that the cropped version is a better composition, but I think the original version, especially including the outbuilding, has better context. As a compromise, perhaps consider cropping only the tree per Bob's suggestion. |
Apr 2nd |
1 comment - 0 replies for Group 62
|
| 93 |
Apr 23 |
Reply |
Hi Ed,
Our daughter is in West Seattle and often visits Alki Beach. We have often eaten at the Mexican restaurant called Cactus Alki Beach.
I see where you shot from--great location.
As to your marriage, such mysteries are very common, but we guys are very lucky. |
Apr 1st |
| 93 |
Apr 23 |
Comment |
This looks pretty good. Your long lens really compressed the distances, so the mountains look very close.
We have two grown children living in Seattle and visit there very often--where were you standing to take this shot? |
Apr 1st |
1 comment - 1 reply for Group 93
|
10 comments - 3 replies Total
|
