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| Group |
Round |
C/R |
Comment |
Date |
Image |
| 21 |
Feb 17 |
Comment |
Alan, I don't have a problem with the fact that none of the larger rocks casts a shadow. In your original, I didn't even notice the lack of shadows which speaks volumes for the visual power of the moon, landscape and solitary person within it. By placing the figure off-centre left in the frame makes her shadow seem more natural and accords better with the direction of light from the moon. The girl's shadow and placement of the three elements within the frame is enough to carry the picture. |
Feb 25th |
| 21 |
Feb 17 |
Comment |
Ojars, As a technical exercise, you have done well to select and to arrange the various elements in the frame to create a composite that is visually pleasing and tells a story. I quite like the dominance of the desert sand dune in the foreground which provides a firm anchor for the picture. The placement of the architecture is important as it helps to channel our visual journey through the scene. Your point is well made about the importance of slanting and direction of light. However, the strip of water feels a bit like a vertical wall which doesn't sit comfortably with the slant of the beach. I am not sure whether the sand dune on the left does it for me and it is a pity that some of the architecture has been repeated in the background. |
Feb 23rd |
| 21 |
Feb 17 |
Comment |
Nancy, Congratulations on a job very well done. It sounds as though it was a labour of love but the end result is worth the effort. I like idea of a frame within a frame, the textural quality of the backgrounds and the orientation of the car which seems to be popping out of the picture. I quite like Alan's idea of making the windows transparent which adds a feeling of ghostliness, mystery, intrigue and which makes the car sit more comfortably against the rusty red texture. |
Feb 23rd |
| 21 |
Feb 17 |
Comment |
Alan, You have used the three elements well to create an image that has immediate impact and a powerful visual story. I usually find that if the subjects are placed centrally in the frame, firstly they make a symmetrical picture and secondly they produce a visually static image. In order to increase the visual dynamic, an off-centre placement is preferable. I agree with Barrie's suggestion and for me your second iteration is much stronger. It takes advantage of the fact that in Western Cultures where we read/write from left-to-right, we expect to see the diagonals and visual flow following a similar convention. I like the illusion that the moon is casting a circular pool of light over the landscape. |
Feb 23rd |
| 21 |
Feb 17 |
Comment |
Barrie, This image works for me. Like you, I warm to the overall simplicity of the shape and form. The naked ballet dance cuts a dashing line en point with her upper body arched backwards. Your more subtle (than usual) use of the Edges Filter has worked well to create something that is artistic and romantic. Compositionally, I might have been inclined to crop a little off the left hand side up to just before the shadow. |
Feb 23rd |
| 21 |
Feb 17 |
Comment |
Joan, I like this picture very much. Introduction of the sand dunes over the sky creates a feeling of a mountainous background which works well. An odd number of main subjects makes the image compositionally strong with a good visual triangle of interest. I absolutely love the Flood Filter although many judges hate it with a vengeance. What do judges know? There is a good invitation into and a pleasing flow around the picture which holds my attention. I am not fussed that the bird is flying out of and not into the picture as the orientation of its wings matches the lines of the dunes in the background and my eyes continually return to the large dark rock in the foreground. |
Feb 23rd |
6 comments - 0 replies for Group 21
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6 comments - 0 replies Total
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