|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 34 |
Feb 20 |
Reply |
I don't use the pen tool to extract everything. But it IS useful for buildings, wagons, things with a lot of edges. |
Feb 23rd |
| 34 |
Feb 20 |
Reply |
The groynes can still be seen in the sphere even if the sphere is resting on one of them. The beauty of art is that it embraces the creative/irrational: Salvatore Dali's "Persistence of Memory" is not a painting of watches. |
Feb 11th |
| 34 |
Feb 20 |
Comment |
The idea of juxtaposing soft, fragile flowers with a tough, sturdy engine is priceless. Your treatment of the flowers and engine in Topaz gives the composite an eye catching, semi-Steampunk look. You had to figure Jan would love to play around with your juxtaposition. Nice work. |
Feb 10th |
| 34 |
Feb 20 |
Comment |
A few months ago I bought an orb after seeing one of your composites. I've played with it minimally, but you have re-inspired me. The colors of the beach make me want to go for a walk there. Did you try putting the orb in Original 3 on the vertical piece of wood (I'm sure it has a technical name I can't think of) in Original 2? I like to play around with disequilibrium and this might just fit the bill. |
Feb 10th |
| 34 |
Feb 20 |
Comment |
Who can look at this image and not smile. I echo the above comments and add that I like the crispness of the images of the children contrasted with a softer background. This looks like the result of a lot of work. Nice job. |
Feb 10th |
| 34 |
Feb 20 |
Comment |
Great cloud, beautiful blue sky, but the image doesn't stand on its own. It's difficult to get your parody without knowing about the New Yorker cartoon. |
Feb 10th |
| 34 |
Feb 20 |
Comment |
I think the above comments say it all. The many steps in your workflow have paid off well. |
Feb 10th |
| 34 |
Feb 20 |
Comment |
Your image is matchless! Well almost. I didn't even notice the match the first time I looked at your image probably because the colors are so captivating. You seem to have become the flower. I'm going to give the Freedom Pen Tool a close look. I use the pen tool a lot to extract images, but I haven't looked further than the basic Pen Tool. That's what makes the Digital Dialogue so valuable. We learn so much from each other. |
Feb 9th |
| 34 |
Feb 20 |
Reply |
The problem with the man's shadow is that the sun seems to be shining on his white bag from behind the man while at the same time shining on the house from the man's left. I feel that it's not much of distraction given the other elements, but you do have a point. I tend to be careless when I add shadows. Thanks for the heads up. I have to pay better attention. |
Feb 9th |
| 34 |
Feb 20 |
Reply |
Thank you for your kind words. As I wrote in my reply to Kathy (above)"working on composites is a true labor of love. Each final composite has multiple drafts whose shortcomings teach me more and more about Photoshop. Retirement helps, too!" My witch's brew is a synthesis of processes I've read here and there in PID Digital Dialogue's "About the Image(s)." There's a little bit of Adobe Camera Raw, a couple of Topaz Plug-Ins, and a dash of other apps, etc. There are so many steps that I had to write it all down. If you'd like a copy, I'll be happy to send you one. I believe I have your email address. |
Feb 7th |
| 34 |
Feb 20 |
Reply |
Thank you for such high praise. Working on composites is a true labor of love. Each final composite has multiple drafts whose shortcomings teach me more and more about Photoshop. Retirement helps, too! |
Feb 7th |
| 34 |
Feb 20 |
Reply |
Thank you for visiting and for your kind words! |
Feb 5th |
6 comments - 6 replies for Group 34
|
| 54 |
Feb 20 |
Reply |
Thank you for your follow up. My daughter in law loves skulls! |
Feb 19th |
| 54 |
Feb 20 |
Reply |
I'm responding, quite uncomfortably, on my iPhone as I'm unplugged for a period of time. I agree. The floor is a distraction, but the pictures on the walls reinforce the title's reference to innocence. The boy would rather look at the chess pieces than the woman. The happy apple supports this. Magritte is one of my favorite surrealist painters and his works usually are good examples of "less is more." Google Michael Chevalier to see another of my favorite surrealist painters. He eschews the "less is more" philosophy and still succeeds as a surrealist. More to say but my pinkie is getting a cramp. |
Feb 18th |
| 54 |
Feb 20 |
Reply |
I agree about the floor; however, I see the Happy Apple as innocence rather than whimsy. |
Feb 11th |
| 54 |
Feb 20 |
Comment |
Everything comes together! The unexpected car in the air is in no way distracting and works seamlessly with the other elements. I'm just wondering if the car in the air would work better if it were moved to the left to follow the rule of thirds. It might balance the car lights (leave them in) on the right. In any case the range of colors holds everything together. |
Feb 10th |
| 54 |
Feb 20 |
Comment |
Your sunset and silhouette combine to make a striking image. I feel that two adjustments would make this an even more powerful image. Original 2 has a nicer profile than the silhouette in your composite and would make a better silhouette. In addition, I feel that the figures on the pier would enhance the image if their proportions were more human-like. This image has great potential. |
Feb 10th |
| 54 |
Feb 20 |
Comment |
This is a composite composed of wonderful colors one would not expect to find in a desert shack. In spite of the splatters of "paint," the colors have a soothing effect. I try in my composites to follow Dutch architect Mies Van Der Rohe's rule of thumb, "Less is more." I don't always succeed, but I try. I feel that the bird in the shack is a distraction. The shack has its own beauty that is enhanced by your "paint" splatters. Removing the bird, for me, supports Mies Van Der Rohe's rule of thumb. |
Feb 10th |
3 comments - 3 replies for Group 54
|
9 comments - 9 replies Total
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