|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 34 |
Dec 19 |
Reply |
I guess its a nightmare if you're the carousel operator. I do see the charm. That's what kept me going. |
Dec 26th |
| 34 |
Dec 19 |
Reply |
Thank you for your kind words. I would have loved to have had different horses in keeping with carousel tradition, but I only had the one horse. In the Bronx Zoo in New York City, children do not ride horses or dragons or bears on the carousel. They ride insects! My 16 year old grandson still remembers those insects.I was hoping the man leaving the frame of the composite would add forward motion to the procession. Sometimes it works. Sometimes it doesn't. |
Dec 16th |
| 34 |
Dec 19 |
Reply |
It's a wonderful compliment that my composite made you smile and that you consider it whimsical. Thank you. |
Dec 14th |
| 34 |
Dec 19 |
Reply |
In response to your trying to imagine what my mind was thinking when I created this, I'll share with you what a friend of mine told me when I sent him a copy of my winning composite in a statewide competition. He said he enjoyed the composite but that he "wouldn't want to live in my head." I took it as a compliment. Picasso said he was born being able to paint like Raphael and he has spent his whole life trying to paint like a child. I see that in some of your work. I'm basically trying to create dreams seasoned with disequilibrium--hence people, etc. not fitting onto the canvas or riders abandoning a carousel. |
Dec 11th |
| 34 |
Dec 19 |
Comment |
Your special effects add atmosphere to this scorched earth composite. Well done. Everything works so well together. My only suggestion is to darken the man a bit. He looks too bright to be among the other effects. For me, the truck is fine. You must have had fun creating this world. |
Dec 10th |
| 34 |
Dec 19 |
Comment |
What a wonderful building. You chose your texture to highlight it very well! I love old, crumbling buildings, and I feel this one gets short shrift because everything in the image gets textured. For my taste, I would include the texture only on the building, thus emphasizing it's decay. The beautiful trees would add to it's look of decay. I see terrific potential here. |
Dec 10th |
| 34 |
Dec 19 |
Comment |
The composition is very well balanced and the two added icebergs are enhanced by their greenish-blue parts being able to be seen through the water. The sky in Original 2 is beautiful. I would love to see it in the final image, but it might be too overpowering. I feel, except for the sky, that the image needs a touch of desaturation. Less saturation would lend a softer touch to the whole image. |
Dec 10th |
| 34 |
Dec 19 |
Comment |
I couldn't have said anything better than Jan's comments. I agree wholeheartedly with her "fun image" comment. This composite has already started me thinking about using a colorful radial blur in the future. Every good idea is worth "borrowing." |
Dec 10th |
| 34 |
Dec 19 |
Comment |
There are three aspects of this composite that make it the charming, peaceful image that it is. The first is your use of the tools available to turn reality into "magical realism." The second is your attention to detail--the shadow of the rope on the rock, for example. The third, of course, is your rich imagination. This composite is a wonderful blend of the mind of a top flight trial lawyer and the mind of Robin Williams. |
Dec 10th |
| 34 |
Dec 19 |
Reply |
Every once in a while in a lucid moment I use groups to help organize things. I also right click the layer box with the eye to highlight that box with one of the several colors offered. Then the boxes for all shadows can be gray. Unfortunately, lucid moments are infrequent. Thanks for the reminders. |
Dec 7th |
5 comments - 5 replies for Group 34
|
| 54 |
Dec 19 |
Reply |
I'm happy you enjoyed this image. The homeless man was not treated to an HDR effect as the workman and the pianist were. Sometimes it translates better than others. The serendipitous moment in this composite is the workman's gloves. I never saw them in all of the times I worked on this image. The gloves were always there and do not belong to the workman whom I imported into the scene. Abandoned buildings hold many treasures. |
Dec 26th |
| 54 |
Dec 19 |
Comment |
Your desert shot makes me want to grab a lot of water and go for a walk. A Christmas tree in the desert is a novel idea and is well rendered here. However, the edges of the desert, the tree, and the sky look too cut-and-pasted. This detracts from the fine job you did on the tree and the desert. One more if I may. The star by itself without the trail would be more impactful. This image has potential. Revisit it from time to time. |
Dec 18th |
| 54 |
Dec 19 |
Reply |
There was a piece on NBC News about the homeless problem in San Francisco. This composite was finished before I saw that episode. The bank was in Hackensack, NJ which is today undergoing a MAJOR renovation. Hackensack (featured in Billy Joel's "Movin' Out") is a downtrodden city which I hope benefits from the renovation. It is located about a mile from a very upscale mall so we'll see. |
Dec 14th |
| 54 |
Dec 19 |
Comment |
When I lived in New York City, whenever I went to the Museum of Modern Art (which was often), I went to see the Rene Magritte painting I've attached. It is one of my favorite paintings by a surrealist painter--less is more personified.Your composite reminds me of Magritte's work. I feel he would love your blending of the buildings, street lights, night sky, and the trees. This is where I feel K.I.S.S. applies. I find the bird, the trail of stars, and the fire distracting and superfluous. Without the above mentioned distractions, you have here one of your best works. Straightening the two trees on the right would be icing on the cake. To paraphrase the title of the powerful movie to allude to, this composite is anything but "unbearable." |
Dec 13th |
 |
| 54 |
Dec 19 |
Comment |
Invest more time in this! Your capture of the crane is too good to abandon. I have a folder of cloudy skies that I use in composites on occasion. Whenever I'm out and about, I look for skies that I can use in the future. There's no rush. Wait for the right sky. It may or may not work. Some of my composites are years in the making. Super Storm Sandy hit New Jersey in 2012, and I may have taken the picture of the abandoned bank a couple of years after it hit. I photographed the man on the left in Cuba in 2013, and I photographed the man on the right this past summer. When I play chess, I sometimes get a plan of attack in my head and focus so much on my own plan that I stop paying attention to my opponent's plan of attack. Not good! I do the same in my composites. Sometimes there's an element that I like and it's that element that is wrong for the image, but I won't let go. When I finally do, the image comes together. Good luck with the crane. It's worth exploring even if you have to give up the egg idea. |
Dec 13th |
| 54 |
Dec 19 |
Reply |
Your adjustment is the solution though I feel your comments about social messaging outweigh a slight tilt in the alignment of the composite. Keep dropping in. All feedback is welcome and appreciated. |
Dec 13th |
| 54 |
Dec 19 |
Reply |
Stephen, Thank you for visiting and for your input. You leveled the picture by the top of the window, and I leveled it by the bottom step. A fun aspect of the digital dialogue feedback is reading what other people see. |
Dec 13th |
3 comments - 4 replies for Group 54
|
8 comments - 9 replies Total
|
