|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 52 |
Jun 18 |
Reply |
Thanks, Tom. |
Jun 18th |
| 52 |
Jun 18 |
Reply |
Thanks for the clarification. I do gallery exhibits and fairs (previously in Milwaukee, and now here in the Richmond area). I haven't gotten the pulse of Richmond yet. When I was in Milwaukee, I had success with my landscapes and cityscape in garnering some interest, but then again, it is few and far between, because folks rarely buy photographic art. But you comment is probably on target since I have a friend in Peoria that put a lot of "Pop" in his images always within reason, but more then I want to do and seems to be successful in selling. The problem for me is I can't do that. I have no desire to pander to what folks want. They either like or don't like it. Unfortunately, I have no right to that attitude probably since I am far from established and my name is definitely not Picasso, but my artist whim still keeps me from just doing what might sell. I do what I do because I like it.
BTW, I don't pursue PPSA (it doesn't interest me), but congratulate you on your efforts in that area. |
Jun 18th |
| 52 |
Jun 18 |
Reply |
Lisa, thanks for the response and comments. I am pondering the study group process because I find sometimes the PSA rules and their influence on folks less desirable then I care for. I am going through that in another group where the review comments frequently relate to some PDJ or PTD or XYZ photo category. I pay no attention to those and only follow my artistic sense and like feedback based on what others artists think work. I get a lot of helpful comments here, I just at times wonder if there isn't a tendency to get stuck in some rule or some style and then it limits being open to see in new ways. I do not pretend to know anything about this art form for each day I see in a new way and just keep trying to follow my vision as I have seen many other do who also didn't care about a lot of rules. Regardless, It is always good to get feedback. I just wonder what drives that sometimes. It could be that I need a break from the "giving and receiving" of the critiquing side of this artistic adventure. I am sorting that out. |
Jun 18th |
| 52 |
Jun 18 |
Reply |
Thanks for the comment about Eliot Porter. He has a unique style which is copied by some photographic artists that I know. However, he did tend to be a little tonally flat and almost single dimension at times. While I like some of his work, he does remove shadows more then I think would be best in some scenes, but then again he was a masterful artist with a unique style.
Regarding the image, I appreciate your comments. On further look, I see a couple of places that could be selectively dodged very slightly. I don't think any burning will add the image, but I will look some more.
What do you mean by Gallery Show and why would that make a difference in your opinion, Sharon? Be mindful, if you are referring to some PSA image presentation vehicle, I do not ever submit in PSA Exhibits and/or Competitions and follow the various rules that I couldn't even begin to tell you about, since I abhor PSA rules.
I have entered other exhibits and competitions that are not directly affliated with PSA, though. |
Jun 18th |
| 52 |
Jun 18 |
Comment |
Wonderful image, Mike. I like it as it is. I agree with Lisa that some folks might find that "boat" distracting, but it never entered the equation in my view. Perhaps it depends on the audience. I love the tonality, softness, color harmony of this long exposure...very well done. |
Jun 10th |
| 52 |
Jun 18 |
Comment |
I think, Judith, you created a wonderful image. It is very artistic and takes how we see nature and a leave to another level. Well done. My only concern and it is just how I experience it sometimes, with the title and without some explanation, this image can be skewed in some eyes. To overcome that, some tonal pop might be added with curves to focus our eye even more on the leaf. |
Jun 10th |
| 52 |
Jun 18 |
Comment |
Wonderful image, Tom. I think you have created a fine image in all regards with birds sharp and in focused, background light and depth of field nicely controlled and very nice color. I like very much your capturing the birds looking in different directions. I wonder if these two share their info or grab what they see for themselves only. Awe, I think we know the answer to that one. Great image. |
Jun 10th |
| 52 |
Jun 18 |
Comment |
Lisa, it is a nice image. I like the original for it places the frog in its environment, in my opinion, better. I think the tinkering to remove grasses doesn't quite work for me and I see residual evidence of things that were there that are not now or are partially gone. I am sure the point is to have a fine portrait of a frog, but I prefer the more environmental portrait approach. I think some slight cropping on the left, centering the frog and keeping the grasses there even if they intersect the body some is just fine. I think then the frog is framed by environmental elements on both sides. I think Mike hit on something about the color of the rocks. The overall color harmony seems odd on the rocks, but then they are wet rocks and so they probably would look different. Great find and a worthy subject to create in different way. |
Jun 10th |
| 52 |
Jun 18 |
Comment |
The story is wonderful. The action superb as well as the composition. My eye though is struggling to be comfortable in the area around the head of the zebra on the left. I think it is a bit too bright from the grassy area by the right zebra left fore leg up beyond the horizon and my eye gets stuck there and then want to look away. I suspect it needs some more clarity and some highlight control. Very nice story. |
Jun 10th |
| 52 |
Jun 18 |
Comment |
I think it is a marvelous image full of motion, pose, color, detail and compositional excellence. The tonality is beautiful and the texture is wonderful. Well done! |
Jun 10th |
| 52 |
Jun 18 |
Comment |
Thanks for the thoughts! So the question is, if one wants to be true to the scene, put their artistry to it with certain digital darkroom techniques, is it that important to open shadows that even the eye couldn't see? Just asking.
BTW, I opened shadows about as far as I wanted to go in what I submitted. From my perspective doing it more starts to make the scene look unnatural (i.e., tree trunks that are deep in the woods dark that are totally in shade)....so where does one leave off and satisfy all or should I just satisfy myself.
Such is our dilemma; such is my dilemma. When it gets to finessing images to certain points I start to find the discussion hard to participate in and I don't know what to say, so don't do it often, as you may notice. I am even thinking of opting out of the entire process. I am in three study groups, facilitate two of them and am starting to wonder if all of this really matters (isn't amazing how we go full circle), because everyone will do it different and because it is a study group there is an expectation to say something that demonstrates that even if in the long haul, it doesn't matter. Thoughts? |
Jun 10th |
7 comments - 4 replies for Group 52
|
| 64 |
Jun 18 |
Reply |
Those are some good points and suggestions...I must pay a little more attention to all the details. You do a nice job, Stuart on see such details. |
Jun 18th |
| 64 |
Jun 18 |
Comment |
Thanks for the feedback.
Unfortunately, Stuart and Stan, I don't care about the various rules of PSA image exhibit, competition, etc. I pay no attention to them at all. They are never a factor in my reviews within the DD or PID SDG study groups. While I know they are listed on the DD website and within PSA.org, I couldn't even tell what they are, much less know what PTD or PJD or XYZ for that matter is, because I don't want to be bound by such rules, but rather by an artistic vision and create things that I think work, are beautiful, tell a story or are unique at time. I wonder how much reviews in all these study groups are impacted by those rules vs. alternatives ways of viewing. Indeed, in my long membership, I have never and will never submit images for that kind of approval or reward.
It is also interesting that when I took the image analysis course at PSA, such rules were not ever even mentioned. I just like, within these study groups and sometimes at a photographic art group get ideas from others about what they think works or doesn't work only within their personal aesthetic of photographic art. That is what is meaningful for me. I wonder, if I should not participate in study groups if the rules are a governing criteria within these reviews? Just wondering?
Now with that said, I can see that some folks don't like the attenna and others find it doesn't matter. So I will continue on my singular path of including it for my gallery exhibits and personal use, but I might pursue stock photo interest to see how it flies. |
Jun 18th |
| 64 |
Jun 18 |
Reply |
Thanks for the info. Not knowing sometime I opt to state it as untitled. Thanks for the additional info, I am sure that will benefit others. |
Jun 10th |
| 64 |
Jun 18 |
Reply |
Jerry, I agree. Ansel frequently had very dark skies. I think it works. In this case, I offered my comment as an alternative as is the case with most of my comments. I find that you have to be true to your vision, that is why I like the image because of how you chose it to be presented. There are so many options available to us. |
Jun 10th |
| 64 |
Jun 18 |
Comment |
I like you image for tonal presentation, but have to agree with Jerry that the top of the image doesn't give us much for the story and subject focus. I also agree that the background needs to be sharper (add slight clarity and contrast, too). In that way, the scene will be far richer to the observer and be an enhancing element to your subject. |
Jun 10th |
| 64 |
Jun 18 |
Comment |
I like the moment in time story and don't want to read more into it for it stands on its own merit. I think what makes the story is the folks not looking at the train for they are busy with their work of bartering, purchasing and deciding about the foods that are in the market. I can well imagine, the train passing is a minor thing in this daily event. Compositionally, your image works quite nicely. I like the focus, detail, tone and point of view. Having faces is not important, rather it is what the people are doing that is important. Well done. |
Jun 10th |
| 64 |
Jun 18 |
Comment |
I like your composition, Stan, as well as the tonality of the image. The detail really pops. Well done! |
Jun 10th |
| 64 |
Jun 18 |
Comment |
Jerry, your image grabs my attention. I am so struct by the tonal range that I don't get lost in the dark areas. However, the sky might be best to be lightened a tad. I like the image. |
Jun 10th |
| 64 |
Jun 18 |
Comment |
I like the image. I think it is a little too grainy and the glow doesn't quite work for me, but that is a artistic idea. The vintage choice in monochrome is pretty cool. |
Jun 10th |
| 64 |
Jun 18 |
Comment |
When I first looked at the image, I thought, "Wow, that is bright!" Then I settled on examining the image more and felt, perhaps it just needed a slight toning down of the hot area on chin and nose. In the end, I like the image and will just say that what make the image is the contrast of dark to light and if that chin and nose is managed a tad, it works for me. To over darken the image causes the image to loose its character and I don't think that works. |
Jun 10th |
| 64 |
Jun 18 |
Comment |
I just can't agree. That is the scene. It is part of the story. |
Jun 9th |
8 comments - 3 replies for Group 64
|
15 comments - 7 replies Total
|
