|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 34 |
Sep 20 |
Comment |
I'm late to the party! The above comments are so thorough that there's little left to say except that it's an imaginative, fun image. |
Sep 12th |
| 34 |
Sep 20 |
Comment |
Like Lori, I had never heard of Wabi Sabi so I did what all 21st Century people would do, I Googled it. It's an intriguing concept. Thank you for educating me. Your textures and colors are blended so well that your image is the antithesis of Wabi Sabi--they should last forever. |
Sep 12th |
| 34 |
Sep 20 |
Comment |
I love whimsy, especially when it is constructed so well. I agree with Steve that the angle of the guard is the centerpiece of the image--with apologies to Big Ben. The above comments say it all. Nice work! |
Sep 12th |
| 34 |
Sep 20 |
Comment |
You REALLY feel the moisture in this composite. It would not look so wet had you not captured the water drops so well. Nice work. |
Sep 12th |
| 34 |
Sep 20 |
Comment |
Welcome, Lori. Your image is all wet! That's a compliment. Your rain filter really creates a believable rain forest. The treehouse itself is to die for, and you've made great use of it. Camera club judges always reprimand members not to put bright areas on the edge of the image as they draw the eye there. I don't always agree with camera club judges, but I have to agree here. If the left side of your image were the same tone as the right side, the light coming out of the treehouse would draw the eye to the lower center of the scene. As Denise said, it is a splendid image. |
Sep 12th |
| 34 |
Sep 20 |
Reply |
Thanks for taking the time again to illustrate a point, but I actually like the "chromatic noise." The monolith balancing the moon never occurred to me. I chose the monolith because it has no immediate, concrete meaning--it's not a statue or a fountain or a monument. Hopefully, it's mysterious, akin to the opening of "2001: A Space Odyssey." |
Sep 8th |
| 34 |
Sep 20 |
Reply |
Thank you for your feedback. |
Sep 7th |
| 34 |
Sep 20 |
Comment |
I once dated a woman whose uncle was the artistic director of the local (if you can call New York City local) PBS station. He knew I was an Art History minor in college so the talk turned to art, creativity, and what his job entailed. He told me the more tools you have at your disposal, the more creative you can be. You use the Poster Edge and Oil Paint filters a lot and have clearly mastered them, but your use of other tool/filters at your disposal is masterful. This is an exciting culmination of all of your stumbling and bumbling, which when I stumble and bumble, I refer to as my creative juices at work. |
Sep 6th |
| 34 |
Sep 20 |
Reply |
When I put this composite together, I knew the men's feet were not taking them directly to the monolith . . . perhaps it's because they are looking at the monolith and are changing their minds. Perhaps the person who's shadow we see on the left has some influence. I'm happy that you feel the disequilibrium. I had hoped the clones would have generated some also. Thanks for taking the time to clarify your idea with an example. |
Sep 4th |
| 34 |
Sep 20 |
Reply |
I'm happy that you noticed the shadow on the lower left. I was afraid I might be being too subtle. |
Sep 4th |
6 comments - 4 replies for Group 34
|
| 54 |
Sep 20 |
Reply |
Thank you for taking the time to illustrate your feedback. The white area you refer to is the white marking on a horse behind the green bush. It is the 3rd horse. It's my fault for not making the horse clearer. I feel that your white vignette and moving the train forward are not in keeping with the title of the image. Thanks again for your input. |
Sep 11th |
| 54 |
Sep 20 |
Comment |
Now there are 1000 and one uses for duct tape! I agree with Aavo and your background revision. More pleasing to the eye. Quite playful and an enjoyable diversion from some of the more serious composites we do. |
Sep 10th |
| 54 |
Sep 20 |
Comment |
Welcome to Group 54, Marilyn. I see great potential in this composite, but I do not agree wholeheartedly with the above feedback (nothing new for me). Original 2 is so good that I feel it should not have been altered to the degree it was. In humans, the eye in a front facing portrait is the same shape as the lizard's eye on the side of its head. We are programmed to see the eye this way. Picasso made a living changing this program. Looking at the final composite the rock and lizard together in the lower right hand corner seem to form a nose. Couple that with the "forward facing" eye and the intimidating lizard is gone. Original 2 is so menacing that you don't have to blur it for effect. Personally, the specks detract from the impact of the lizard. By now you can tell I really like the lizard. It plus your good image of rocks and your good shadow will make a good composite. To me, this is a draft--a draft of an image that has great potential.
|
Sep 10th |
| 54 |
Sep 20 |
Comment |
Your sky is a combination of Edvard Munch and Van Gogh, but for my taste, it doesn't fit with the more realistic landscape around the lake at the bottom of the image. There was once a commercial on TV with the tag line, "It's not NICE to fool Mother Nature." I try not to alter nature too much in my images. If this were my composite, I would make the sky more realistic to match the rocks and have the man walking among the rocks with the blue umbrella clearly showing. The image of the man and the umbrella would add a surrealistic feel to the realistic nature scene. Good luck on your pursuit of your final image. |
Sep 9th |
| 54 |
Sep 20 |
Comment |
Wonderful transformation from mortal to mermaid. Your depiction of the rough sea makes the water actually seem like a rough sea. I agree that the rocks on the left need to be on the right. I also agree with Brad that the beam of light is quite effective. |
Sep 9th |
| 54 |
Sep 20 |
Comment |
This is a fun image. I, too, enjoy putting my grandchildren in my composites. The frog on the right is a great addition. |
Sep 9th |
| 54 |
Sep 20 |
Reply |
The best part of these groups is how people see the same image differently. After I completed this composite, I made it darker hoping it would be more ominous. I then had to darken the train because it was still too light. Something prevented me from making the tree in the middle darker, but I don't remember what it was. In any case, I wanted the train dark, and I feel, that if I had put a light on the engine as Betty and Brad suggest, there would be others who would say the train should not have a light because the eye would be attracted to that bright spot in the image. And Aavo feels the train should have been left out. It's informative to see what the group says as well as what the artist says.
|
Sep 9th |
5 comments - 2 replies for Group 54
|
11 comments - 6 replies Total
|
