|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 21 |
Aug 17 |
Reply |
John, It is interesting that you see the frame as a window in the sky through which we can see a different sky behind. In this case, it would make sense for the tip of the egret's right wing to be obscured. However, I saw the frame as hanging in free space in the sky in which case I wanted to see the wingtip below the frame. To each their own ... |
Aug 30th |
| 21 |
Aug 17 |
Comment |
Nancy, I have always been in awe of your creative use of brush strokes which I have failed miserably to replicate. This image has the feeling of a hand-tinted photograph of yesteryear, the necessary precursor to full colour printing. Compositionally, I wanted the boy's head to be less central in the frame and more to the left, to create the illusion that he was looking into and not out of the picture thereby enhancing the overall visual dynamic. It is a pity that the catch-lights in the eyes are so literally eye-catching; once seen they cannot be ignored. I quite like the stroked lines around the portrait which adds further interest. |
Aug 30th |
| 21 |
Aug 17 |
Comment |
Alan, I find it interesting how parental influences are passed on to their children directly/indirectly or consciously/subconsciously and how it is only in later life that this is fully realized and appreciated. Your exposure to MOMA et al is a classic example. I quite like this image as it works for me at different levels. Overall, I find it visually restful and engaging which I suspect is due partly to the fact that there is space around each of the individual elements. I like the way that there is connection between the disparate and adjacent parts eg; Picasso painting of boy leading horse versus Senegalese boy and horse; Picasso painting of the old guitarist versus the Jordanian blind musician; the easel, bench and wall playing a supportive role; the strength of the three wooden frames creating a good visual triangle of interest enhanced by the diagonal lead-in line of the wall; the two artist brushes, one of which is resting on the easel with the other resting on the sand. Inclusion of the camera at first felt a little alien but on reflection it provides a portal between the surreal and real worlds. Two small nitpicks. The more I looked at your image, the more I wanted to see the egret's right wingtip below the lower part of the frame against the sky. Also, the various earth-bound elements seem to be floating over the environment. Perhaps that was your intention which is fine, but I wondered whether a small drop shadow would help to anchor them in reality. |
Aug 30th |
| 21 |
Aug 17 |
Reply |
Nancy, Thank you for your kind words. Sometimes when you pare down images to an empirical level, eg by limiting the colour palette, then the result can be the stronger for it. |
Aug 30th |
| 21 |
Aug 17 |
Reply |
Alan, I wish you well in your peeling page endeavours which should bring a new dynamic to your surrealist images. |
Aug 30th |
| 21 |
Aug 17 |
Reply |
Joan, Many thanks for your comments. I am a strong advocate that one of the most important aspects in photography is composition. |
Aug 30th |
| 21 |
Aug 17 |
Reply |
John, The effect is quite simple to do but the overall visual story can be quite powerful. |
Aug 30th |
| 21 |
Aug 17 |
Comment |
John, I quite like the effect you have created with Impressionist Painting but I wanted to see some variety in its application. One example might be to erase the effect from the fourth rider from the left to create the illusion that he is cycling out of the impressionist bubble. Another example might be to remove the colour from all but the lime green and red riders on the left. Both of these would add to the visual story and increase the overall visual dynamic. |
Aug 30th |
| 21 |
Aug 17 |
Comment |
Joan, You have done well to combine two originals into one very strong composite. Alan's comment that the whole is greater than the sum of the parts is quite apposite here. I like the way that the whole scene is lit up with light and we can see lovely detail in and below the balloons. I particularly like the way that you have distorted the perspective by placing the two larger balloons 'behind' the three smaller ones. Well done. |
Aug 30th |
| 21 |
Aug 17 |
Reply |
Betty, Thank you for your kind words which are much appreciated. I hope you are keeping well and still enjoying life in the fast lane. |
Aug 14th |
4 comments - 6 replies for Group 21
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4 comments - 6 replies Total
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