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| Group |
Round |
C/R |
Comment |
Date |
Image |
| 19 |
Jan 24 |
Comment |
Conde Nast wrote an article about this neighborhood receantly. They consider it one of the best neighborhoods in the country. I think they over rated it, but it has a history of working class laborers in the early days and now transformed into being "artsy" It is interesting. You can walk it and photograph the artsy transformation. |
Jan 23rd |
| 19 |
Jan 24 |
Comment |
I think you did a good job with the new crop. Just tight enough on the left to get rid of the distrations and not allow the lines in the wall to look like the image was not straight. Removing some of that shiney material at the bottom helps.
I am not sure you got your 2 Euros worth. I recall in Myanmar I told a guide I had given someone a dollar and he said I got 25 cents worth and started posing the person. That of course became not suitable PTD shots, but we don't undersand very well the value of money to these people, There is nothing wrong with helping those who need it more than we do. |
Jan 18th |
| 19 |
Jan 24 |
Comment |
I think the suggested crop is likely to improve the story and once you do it, you could also crop top or bottom to control the aspect ratio of the resulting image. It is interesting that the building on the left is significantly closer to your location, the windows, doors and air conditioners look much larger but this doesn't seem to distract from the story you are capturing. |
Jan 18th |
| 19 |
Jan 24 |
Comment |
I am sorry, but I don't relate that well to this. Example of our reaction to images is generally a matter of personal preference and an opinion. That is probably even more true with impressionistic things.
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Jan 18th |
| 19 |
Jan 24 |
Comment |
I think the idea of the crop is a good one, but I don't think I would go as tight either on the top or the right. I like showing more of the environment the statue is in with the wall and more of the flowers. |
Jan 18th |
| 19 |
Jan 24 |
Comment |
I have never seen a picture of Hadrian's wall, so I did not know what to expect. I thought it would be higher, but it seems you picked an interesting place with a lot going on for your shot. |
Jan 18th |
| 19 |
Jan 24 |
Reply |
The top crop removed the sky. The roof was flat. It had what you might consider a "crown molding" around it and I tried to keep that, but it doesn't really come across well in the image. In any case it seemed like a natural place for the crop. |
Jan 18th |
| 19 |
Jan 24 |
Comment |
I like the way the light streams down the center of the image, but the story is in the people. The slow shutter spead tells the hustle and bustle story, but there is another story about the little girl in red playing the violin on the right. I decided the four people that are not moving are probably her family enjoying watching her. Most people are pretty much ignoring her. Those moving fast are ghosted away. Colors are great. Exposure seems right on with the highlights almost blown and the shadows rich. the highlights on the kiosk are great. |
Jan 9th |
| 19 |
Jan 24 |
Reply |
Those windows were a big bonus and I did not need to do any special processing of them to have the correct exposure. The only targetted adjustment was to select the door and bring up the exposure some to bring out the grain.I needed to do some perspecive adjustment to get the horizontal lines horizontal and the verticle lines verticle. That was about it. The camera needed to be pointed up some to get the shot and perspective correction was needed. |
Jan 7th |
7 comments - 2 replies for Group 19
|
| 64 |
Jan 24 |
Reply |
Yes, the mission itself is not symetric. The tower on the right was never finished or perhaps they intended it to be that way. This is a wondeful photo opportunity at the PSA Festival this fall. I suspect tours will be going here. There is more than just this shot that you will want to capture.
There is another mission that is even older a few miles farther south. It is the oldest Spanish mission in the west of the USA as I understand. It is no longer used as a church however. Perhaps I will post one of it next month. |
Jan 22nd |
| 64 |
Jan 24 |
Reply |
My experience with this building is that it is hard to get verticles that always look verticle. There are no really long lines to use but I did use two verticle and one horizontal to correct perspective. Sorry about the name, I ususally don't do this, but it was set up in my Lightroom export to put it there, so that is where it is. It is not part of the image as far as I'm concerned, but yes, it is distracting. I am not a fan of dramatic skies. This is about as far as I go, in fact I considered taking it down some. |
Jan 19th |
| 64 |
Jan 24 |
Comment |
I want to point out a couple of problems with this image because I think it can be a learning experience. First if you zoom in to the upper left you will find an oval in the sky. This is because I used the Healing Brush in Lightroom to remove a dust spot without feathing the edges of the brush. The other is there is a second dust spot between the two towers of the mission that I missed. This one was not very apparent until I had made some other adjustment. |
Jan 18th |
| 64 |
Jan 24 |
Comment |
I don't think this image can be any better. The 135 mm lens emphasised the condition of the rails which is a significant plus to go with the old engine, cars, bridge, and smoke. Just an excellent classic railroading capture. I have a feeling this would sell well with railroad enthusiasts, paricularly if they live near enough to this bidge to recognize it. Looks like an award winner in PSA recognized exhibitions. |
Jan 18th |
| 64 |
Jan 24 |
Comment |
I agree with the crop from the top to 1/3, but would also crop both sides some to try to get the island more significant in the image. I think your processing overall is excellent, but I would do some selective processing on the island, basically agreeing with John. I know this is taken in some inclement weather but I would still try to bring out some contrast on the picture elements on the island, particularly the trees. |
Jan 18th |
| 64 |
Jan 24 |
Reply |
I didn't intend to pick on the person that secured the boat, but it does seem a bit strange, that seems to be what creaed the interesting composition you captured. Showing a well done whipping would be a significant plus, but perhaps the person that secured the boat would not be a person with a well done whipping. Sorry, now I really am picking on someone. |
Jan 18th |
| 64 |
Jan 24 |
Reply |
Good discussion so far. The thoughts expressed were the ones going through my mind. The bridges seem too small in the composition, but there is not much you can do about it without loosing the ends of the bridges and that impacts the story you are trying to tell. In the mono the extremes in tone left to right seem to be too much for me. This could be adjusted, but as John indicates this looses the fall scene, but then it is lost anyway as far as I'm concerned. I would do it. |
Jan 18th |
| 64 |
Jan 24 |
Comment |
A beautiful monochrome. The high contrast foreground tends to hold my interest with the lower contrast background completing the story. I am curious with the low noise of modern cameras why you used such a low ISO and risked camera shake and decided you were looking for blur in the waves breaking. I think the waves look great, so if so, everything worked. |
Jan 9th |
| 64 |
Jan 24 |
Comment |
Having done a lot of small boat boating over many years, I find this composition very interesting. I wonder a bit about who created this composition in the process of securing a boat. The contrast in the strands in the lines is excellent and tends to make the image. The blacks are on the edge of loosing all detail, but somehow I think this works just fine. The way you held the camera with the lines going out the lower right seems to work very well for me. Well done. |
Jan 9th |
5 comments - 4 replies for Group 64
|
| 81 |
Jan 24 |
Reply |
Yes, this is a very useful tool. Some cameras even have them for all three colors of pixels. Then you can see if any one color overflows (spike on the right). Sometimes the total of all color pixels doesn't look like a problem, but one of the colors is. As an example a picture of a red flower can look like the spike is not a problem, but in the red histogram a spike on the right means lost data. The result can be a red flower without much detail. In this case, it looks like all three colors have lost detail and the result is a lack of any color in those pixels.
When you have an opportuity to repeat a capture this can be very useful. If I am shooting in a semi automaic or automatic mode and see this histogram, I would repeat the shot perhaps dialing down the flash or the exposure compensation and take another shot. Check the histogram and perhaps even take a third shot. |
Jan 22nd |
| 81 |
Jan 24 |
Comment |
Kurt, I am glad to see you, as a new member already participating in Digital Dialogue. I have been in Group 19 since 2004 and still enjoy it. I am not a flash photographer so I am no expert on what you are working on here, but in difficult lighting situations I consider it very important to watch the historgram that is generated for your images. I suspect in this capture the histogram would show a spike of pixels on the far right of the histogram. That would show that at least some of the light overflowed the pixels and the true color was lost. I like to think of the pixels as buckets and you want no buckets to overflow, but some to come close, often called "exposing to the right"
Welcome to Digital Dialogue |
Jan 18th |
1 comment - 1 reply for Group 81
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13 comments - 7 replies Total
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