|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 3 |
Sep 25 |
Comment |
This shot is nostalgic for me. My wife is Turkish and she owns one of these Greek-built windmills in southern Turkey. It is protected by preservation laws and cannot be altered.
I will add some information about these old windmills. The entire top sits on a wood race lubricated with olive oil and can be turned with levers to face the wind. All the gears are hand-cut wood. Even if one of these is not very old, the construction methods are extremely old. |
Sep 17th |
1 comment - 0 replies for Group 3
|
| 4 |
Sep 25 |
Comment |
I went back to look at Dr. Vaisman's prior comments. What I noticed then was that his suggested version of your image was softer in its post-processing. That is exactly the intent of my comment, that you now have a bit too much post-processing. Although that creates an interesting portrait, I think it slightly loses the details of the original and injects a character interpretation that is not in the original. I recognize that one may choose to artistically inject new ideas into a portrait, so that is your photographer's choice. |
Sep 17th |
1 comment - 0 replies for Group 4
|
| 5 |
Sep 25 |
Comment |
Hello Pete,
This is the Franciscan Monastery in the DC Brookland neighborhood. My wife and I have been there several times for Christmas masses years ago when a good friend of ours lived in Brookland. Such warmth and sincerity there.
I have always felt photos of statuary were fair subjects for us photographers, since it is not at all like shooting a painting. As you have done, there is angle, lighting, subject selection, and post processing for the photographer's art.
I am surprised and pleased at your idea to tone down the colors. Removing the shadows on the wall is also a surprise, but it works to remove a distraction, while the useful shadows on the statuary remain.
My only thought is to crop a little bit from the right, only a little bit. I can see leaving that side generous when the subjects are in motion in that direction, but not here. On the other hand, your image's space on the right obviously implies the crucifixion that is not seen, so most of that space is necessary. I just suggest slightly less. |
Sep 17th |
1 comment - 0 replies for Group 5
|
| 6 |
Sep 25 |
Comment |
Nice idea. Been there many times.
What mosque was that, and where was your location? |
Sep 17th |
1 comment - 0 replies for Group 6
|
| 19 |
Sep 25 |
Comment |
So clever to catch the woman on the left walking away down the alley. |
Sep 16th |
1 comment - 0 replies for Group 19
|
| 20 |
Sep 25 |
Comment |
This is very clever and creative. It looks good and should please your daughter, and later your friend.
Over the years, there have been many similar images from the hundreds of members of these Digital Dialog groups. There have been some with each person-image dressed differently, or with different hair or expressions. I think you have a great project here with infinite variations possible. If you keep a history, you could even put in the same person at different ages. |
Sep 16th |
1 comment - 0 replies for Group 20
|
| 28 |
Sep 25 |
Comment |
This is a great shot, taken at the right moment. But the decorations around the jump are a bit confusing. Can't be helped.
I have a question about riding (my daughter rides). The rider's hands are uneven, and he is looking to the right. Is he anticipating a right turn immediately after the jump? |
Sep 16th |
1 comment - 0 replies for Group 28
|
| 29 |
Sep 25 |
Comment |
Nice shot, but what about showing how high the jump is by showing the full jump all the way to the ground? Yes, I understand you chose to get close to show concentration, so I am not objecting. The comment about really good eyes is both a photographic comment and a compliment to the rider's concentration. |
Sep 16th |
| 29 |
Sep 25 |
Reply |
You said, A slightly distracting flash of white along the riders leg at the saddle line at the end of the horses mane.
Are you talking about the bit of blue sky visible between the rider's bottom and the saddle? If so, the rider is up on their stirrups and the image shows that action, so isn't that OK? Or do I not understand. |
Sep 16th |
1 comment - 1 reply for Group 29
|
| 30 |
Sep 25 |
Comment |
Everyone is taking a try at adjusting the lighting on this very interesting portrait, so I did also. I tried first not to lose any detail, and then not to impose any mood in the lighting that was not in the original. I am not sure if I did anything significant. This was a fine original image and fun to try working on. Thanks. |
Sep 16th |
 |
1 comment - 0 replies for Group 30
|
| 32 |
Sep 25 |
Reply |
And both are favorites of children's books. |
Sep 21st |
| 32 |
Sep 25 |
Reply |
Yes, my shot was too blown out. I think I would prefer something halfway between what I did and you did. |
Sep 20th |
| 32 |
Sep 25 |
Comment |
I keep changing my view of this as we all discuss it, and everyone is giving very thoughtful ideas. I did not think about the sky, but now I think I like a lot of sky, like your original, emphasizing the isolated place. |
Sep 20th |
| 32 |
Sep 25 |
Comment |
Such an interesting shot, and so different than what you usually shoot. Very good story.
I see that you shot at 1/1600, but I would not have expected that to stop the propeller motion. Did the pilot cut or feather their engines briefly during the scooping? |
Sep 14th |
| 32 |
Sep 25 |
Comment |
These are all hard for me to discern. They seem too complicated to sort out. I like the simpler ones that you did not choose, especially Image 3, where the reflected subjects were large and easy to identify. |
Sep 7th |
| 32 |
Sep 25 |
Comment |
Hi Ed,
Great subject matter and composition.
My only comment is that I would like those yellow flowers to be more prominent in the final monochrome image. I tried a few things. How is this? |
Sep 7th |
 |
| 32 |
Sep 25 |
Comment |
The backlighting is very effective.
I see that you reduced the brightness of some of the background on the left. Yes?
Maybe the right eye socket, being neither in view nor fully hidden, is a small distraction. Or remove the backlit hairs that highlight it. |
Sep 7th |
| 32 |
Sep 25 |
Comment |
Good choice of sunset clouds, with those rolling clouds at the top.
I like the simplicity of the bare tree, and the removal of the ground level bushes. It all looks fine together.
I normally put a very small white stroke around my images to differentiate them from the screen background. I notice you choose your borders carefully. This broad white one looks good.
The tree is not quite centered. I think there is an argument to have it a bit off center. What did you intend and what do you prefer?
The color shot is also very pleasing. |
Sep 7th |
6 comments - 2 replies for Group 32
|
| 33 |
Sep 25 |
Comment |
Is that one of the Marina towers on the left? Good that you did not feature them in the shot, since they are so standard. Overall a pleasing shot. |
Sep 14th |
1 comment - 0 replies for Group 33
|
| 37 |
Sep 25 |
Comment |
It's a good image, and a good story of the hype around their carnival stunt that they do over and over again without protection. |
Sep 14th |
1 comment - 0 replies for Group 37
|
| 38 |
Sep 25 |
Comment |
This looks like Château de Chenonceau. You can look it up in Wikipedia. |
Sep 13th |
1 comment - 0 replies for Group 38
|
| 49 |
Sep 25 |
Comment |
|
Sep 13th |
 |
| 49 |
Sep 25 |
Comment |
Great shot. I wish I had a 15mm lens to get shots like this.
The perspective is something to consider. As you look up for your shot, there is a convergence of vertical lines. Some people like this, as it is optically true and indicates how the building soars upwards. But that is usually useful for outside shots. For this interior, I suggest muting, but not eliminating, the vertical convergence using a skew function in PS, in this case. |
Sep 13th |
2 comments - 0 replies for Group 49
|
| 60 |
Sep 25 |
Comment |
You asked a tough question.
Of course it is a fond memory, and a very good one.
Yes, your crop to concentrate on the textured building makes an excellent image.
But it is without story-telling, so not quite a museum image or a contest winner.
But if you put it into a body of work exhibit of your entire visit to Porto, it just might be accepted as a one-person show. Try your local public library or community center, or your favorite Iberian restaurant. |
Sep 12th |
1 comment - 0 replies for Group 60
|
| 64 |
Sep 25 |
Comment |
That's a fine image and a good sensitive story about it.
There are a lot of rails-to-trails conversions all over the country. I hope you can take the same shot sometime in the future and there will be walkers and cyclists all over a newly converted trail. |
Sep 12th |
1 comment - 0 replies for Group 64
|
| 79 |
Sep 25 |
Comment |
Wow, this is straight out of MC Escher, thanks to the technology of your new system. I hope to see more of these images from you. |
Sep 11th |
1 comment - 0 replies for Group 79
|
| 81 |
Sep 25 |
Comment |
This is a great example of taking advantage of vertical perspective to show the building soaring upwards. Thank you for not being tempted to alter the perspective to make the verticals parallel. That would have ruined the composition. |
Sep 11th |
1 comment - 0 replies for Group 81
|
| 83 |
Sep 25 |
Comment |
Very clever perspective you chose and great composition, with the white line meeting the corner of the frame. I love the tilted lamppost and the fogged tree. Did you lie down and hold the camera or set it on the ground? |
Sep 11th |
| 83 |
Sep 25 |
Comment |
Looks like Mesa Verde or similar?
How did you like your visit there?
Suggest you remove the three tourists who are in the open. The fourth behind the tree does not matter much. The size of the doors and windows already give scale. |
Sep 11th |
2 comments - 0 replies for Group 83
|
26 comments - 3 replies Total
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