|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 8 |
Mar 20 |
Comment |
Mark, Thank you for your comments about my "Rhapsody in Blue" in Group 34. I have honored your request for creating only the ballerina and the room. I figured you'd see it here more easily than returning to Group 34. By the way, your March entry looks like a picture of me looking at myself in the mirror in the morning. |
Mar 10th |
 |
1 comment - 0 replies for Group 8
|
| 34 |
Mar 20 |
Reply |
Thank you for your feedback. I'm glad you enjoyed the image. |
Mar 22nd |
| 34 |
Mar 20 |
Comment |
I was born and raised in South Carolina, and I see this image as a place to go--perhaps because I walked fields like this numerous times as an adventurous boy. The difference is that I had to learn how to cross through barbed wire fences without getting cut or tearing my clothes. No point of interest necessary for a southern boy whose memories are filled with images like this. |
Mar 19th |
| 34 |
Mar 20 |
Comment |
I was born and raised in Anderson, SC, about as far from Myrtle Beach as one can be and still be in SC. Now I live across the Hudson River from Fort Apache in the Bronx. It is one of the most dangerous neighborhoods in NYC. Your wonderful mix of colors and textures will help give a softer meaning to the term "Fort Apache." Thank you. |
Mar 19th |
| 34 |
Mar 20 |
Comment |
You have channeled American artist Georgia O'Keeffe in this delicate rendition of a lovely flower. Adding to the interest is that her husband was American photographer Alfred Stieglitz. Perhaps you have channeled them both. Thank you for the breakdown of your workflow. All of those steps were well worth it! |
Mar 19th |
 |
| 34 |
Mar 20 |
Comment |
The thing I find fascinating is that you use some of the same software here that you use on your wonderful steampunk images and achieve a different result. This is a much softer image created by a lighter hand. Well done! |
Mar 19th |
| 34 |
Mar 20 |
Comment |
When you come in at the end of a long list of comments about such a wonderful image the only thing left to say is, "Wow!" |
Mar 19th |
| 34 |
Mar 20 |
Reply |
Thank you for your kind comments. I've used this room in preevious composites and others have commented about the brightness of the doorway on the left. You'd think I would learn! Believe me, I did not mean to stick to the rules in the composition. I'm much more comfortable with "What rules?" |
Mar 17th |
| 34 |
Mar 20 |
Reply |
Funny how it's so hard to see the missteps in our own work. Now that you point out the feathering, I see that the pianist on the left is less sharp that the pianist on the right. Thank you for your comments. |
Mar 12th |
| 34 |
Mar 20 |
Reply |
Thank you for visiting. The piano player on the left is floating. As a result, the shadow does not connect to the floating image. The piano player on the right is against the wall and effects the shadow differently. I hope this answers your questions. |
Mar 1st |
5 comments - 4 replies for Group 34
|
| 54 |
Mar 20 |
Reply |
Whenever the unconscious speaks, one must listen for the wisdom is fleeting. |
Mar 18th |
| 54 |
Mar 20 |
Reply |
When one interacts with art, one brings a lifetime of experiences that influence that person's interpretation/understanding of the work of art ("art" being an overall term that includes the visual arts, literature, music, dance, etc.). The members of Group 54 all responded to this image with a Christian eye. I did not mean for Jesus to be the main object as Aavo says, nor did the Holy Trinity enter my mind at any point in the creation of this image. Betty sees the crucifix as "so dominant" even though it is in the distance and small. As I've stated in the past, I hope that my composites are surrealistic, and one component of surrealism is disequilibrium. I included Christ to (hopefully) ensure disequilibrium, not to establish a religious a religious theme. I like that Brad thinks the image is "beautifully crafted," that Betty feels the color of the storeroom is "excellent," and that you describe the image as "gritty." These descriptions, along with the religious observations, are feedback I can learn from. |
Mar 18th |
| 54 |
Mar 20 |
Comment |
I hear the "Twilight Zone" theme song when I look at this image. It certainly evokes fear of walking alone on a misty, moonlit night. You've used your blending skills quite well. The only change I suggest is to make the whole image a little darker . . . and don't go out at night alone. |
Mar 17th |
| 54 |
Mar 20 |
Comment |
I'm wondering what the house looks like without all of the additions. It looks to me to be too quaint to obscure. You've got a nice subject here. Revisit on a rainy day. Getting in closer to the door would bring out the "door bell." |
Mar 17th |
| 54 |
Mar 20 |
Comment |
Coy is a good word for the look the woman has in her whole body. Coy is subtle. I also feel that the man and the woman need a reduction in contrast. The building is too soft to be in the same sharp image. I'm not sure young women today know the meaning of coy. Thanks for bringing it back. |
Mar 17th |
| 54 |
Mar 20 |
Comment |
I usually don't like Topaz Glow but it works so well here. You've transformed a hole in the ground into a surrealistic eye. I feel the "fish" bring the eye to life because there's so much liquid-like "stuff" in an eye. I agree with Aavo about the white object, but the image is greater than the sum of its parts. |
Mar 17th |
| 54 |
Mar 20 |
Reply |
Thank you for your observations. The woman is/was smelling a flower. It used to be red, but I felt red was too dominant a color for this composite. I never considered a white cat because I felt it would draw the eye from the rest of the image. I try to create surrealism in my composites which for me is to NOT tell a story and allow the lack of connections to create disequilibrium, a main stay of surrealism. |
Mar 12th |
| 54 |
Mar 20 |
Reply |
Thank you for your kind words, and I agree, now that I look more closely, the cat needs a little adjusting. |
Mar 12th |
4 comments - 4 replies for Group 54
|
10 comments - 8 replies Total
|
