|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 34 |
Apr 19 |
Reply |
I am going to look into providing ripples, and I have already changed the street performer (see my response to Jan). With all due respect, you seem to see this composite as a realistic rendering in wanting ripples in the water and in wanting a more proportional street performer. However, it doesn't concern you that the man in this composite is walking on water. As one who is trying to achieve a surrealistic representation, I am happy about the seeming duality in your thinking. What does size matter in a surrealistic world? Thank you for your observations. Yours and others' feedback are certainly grist for the mill--even if the mill is in a surrealistic world. |
Apr 16th |
| 34 |
Apr 19 |
Reply |
Thank you for your feedback. I replaced the street performer in my comments to Jan (see above). I'm not familiar with Flaming Pear, but I think you have mentioned it before. Comparing your image to mine, it seems like Flaming Pear added ripples only to where you "painted" them. There are no ripples in the water to either side of the man or to the viewer's right of the boat. In any case your point about adding ripples is well taken. |
Apr 14th |
| 34 |
Apr 19 |
Reply |
Jan, Thank you for taking the time to explain your overlay method. |
Apr 8th |
| 34 |
Apr 19 |
Reply |
Please see my remarks to Jan. |
Apr 7th |
| 34 |
Apr 19 |
Reply |
Please see my remarks to Jan. |
Apr 7th |
| 34 |
Apr 19 |
Reply |
The beauty of the pen tool is that it didn't take hours to cut out the spaces in the hull--just persistence/stubbornness. I tried a different figure from the street performer and placed her in front of the hull. Perhaps this is better as she is more human therefore can be more ghost-like. |
Apr 7th |
 |
| 34 |
Apr 19 |
Comment |
Denise, I understand your frustration. Anyone who spends time on a computer does. I am not a lover of turning photos into cartoons, but I do like HDR. I took the liberty of turning your image into a quick HDR rendering. It's too good a photograph not to tinker. Hope you don't mind. |
Apr 6th |
 |
| 34 |
Apr 19 |
Comment |
I'm not sure whether you want the viewer to see a real train or a toy train. The steam coming out of the engine and the smoke around the wheels bring a toy train to life but don't really add anything to a real train. I agree with Georgianne that the hills and gravel aren't really seen; therefore, it's hard to say whether or not they would add to a toy train or a real train. Jan's leveling the train and cropping the image, I feel, improves the composition. All in all, the steam, the smoke, and the conductor make this a successful image of a toy train. |
Apr 5th |
| 34 |
Apr 19 |
Comment |
Helen and Georgianne have covered a lot in their description of your composite, and I agree with most of what they say. In "detective" movies and TV shows, the camera always seems to show the audience the gun in the drawer before the hero needs to use it. I feel you have done this with your choice of focus. I, too, would like the objects in the background to be more in focus so that the "pasta" doesn't become the "gun in the drawer." I feel this image does not allow the viewer to take pleasure in discovering the "pasta" on his/her own. I do have a question about your use of color overlay. Is it the same color overlay that is found in Photoshop in Layer Style? |
Apr 4th |
| 34 |
Apr 19 |
Comment |
Seeing this image inspired me to look back at your previous images. You have mastered blending images into a single composite that attracts the viewer without demanding a narrative (yes, I guess I'm anti-narrative). I intend to take a screen shot of your witch's brew so I can keep it handy to enhance some of my composites. Nice work. |
Apr 4th |
| 34 |
Apr 19 |
Comment |
For me, the most powerful image here is Original 1. I'm a "less is more," K.I.S.S. kind of guy. My wife and I went into NYC last night to see a Broadway show, and I was not comfortable with the people, traffic, noise, and pace. I thank you for the revelation about the lens sphere. The spheres look great. My sphere has already been ordered. Your explanation about all of the steps you took validate some of the steps I take to make my images look untouched. This is a noble effort, but it reminds me of the frenetic aera of BROADWAY IN nyc. |
Apr 4th |
5 comments - 6 replies for Group 34
|
| 54 |
Apr 19 |
Reply |
Peggy, Thank you for your feedback. I wish I could say the triangle in the composition you mentioned was intentional. That's why we all signed up--to have others point out what we don't see. |
Apr 8th |
| 54 |
Apr 19 |
Reply |
Yes, thank you. |
Apr 6th |
| 54 |
Apr 19 |
Reply |
Thank you for your feedback, Aavo, but if I had shown the entire head I feel it would not have oozed emotion. |
Apr 6th |
| 54 |
Apr 19 |
Comment |
The classroom shot (Original 2) is fertile ground for a composite--especially the wood texture which you capture very well. The girls' reaction is a little stiff, but they are granddaughters not models. The rendering of the girls' hair is to be applauded! I disagree with Brad, however. I feel the map pictured in Original 1 would complete the classroom very well. The placement of the cloud is awkward and the cloud, itself, does not help to transition this realistic rendering to a surrealistic image. |
Apr 6th |
| 54 |
Apr 19 |
Comment |
The colors are wonderful and flipping Original 1 works very well, and Brad is right about the depth of field. Please forgive me, but I am not partial to cartoons. I prefer line drawings, especially with forest images. I was born and raised in the southern United States surrounded by forests, and even today I visit a local (NJ) wildlife preserve an average of once a week to walk among the trees as I try to photograph large wading birds in the lake. That probably influences my reaction to this image. |
Apr 6th |
| 54 |
Apr 19 |
Comment |
I wrote in February that you are the master of haze, mist, and fog. I agree with your statement above that you handle the blending of layers very well. Do you care to share your secret? All of the blending, mist, and haze come together here in a composite that makes me want to go back to Vietnam (as a tourist). Terrific image. |
Apr 6th |
| 54 |
Apr 19 |
Comment |
Thank you for sharing the process you employed here. I took a screen shot of it for future use. The look on the gorilla's face makes the whole image. What looks like a furrowed brow and the shadow over the eyes are certainly menacing in keeping with the gorilla's portrayal in the movies and thus our perception of an otherwise mostly gentle creature. This is all balanced by the light on its head. There are a couple of distractions, however. There seems to be a painted halo around the gorilla. This can be fixed, I'm sure, as you become more familiar with Irene Bowers' technique. Also, the gorilla's hands and foot are too sharp for the rest of the image. All in all, a wonderful beginning into a new technique. |
Apr 6th |
| 54 |
Apr 19 |
Reply |
I'm happy it got under your skin. :) |
Apr 5th |
| 54 |
Apr 19 |
Reply |
Thank you for your comments. Actually, I was looking for an emotional reaction rather than a narrative. My reaction to your march entry was emotional rather than trying to construct a narrative. |
Apr 4th |
4 comments - 5 replies for Group 54
|
9 comments - 11 replies Total
|
