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| Group |
Round |
C/R |
Comment |
Date |
Image |
| 21 |
Jun 19 |
Reply |
Steve, I quite like the visual disconnect created between the reality of the subtle colours of the stonework in the foreground and the artificality of the hard tones of the altered reality of the trees in the background. Your idea of a radial gradient used with a mask over the shed would work well.
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Jun 25th |
| 21 |
Jun 19 |
Reply |
Susan, Creativity as a concept is in the mind of both author and viewer. I know it is a well worn cliché but creative or altered reality can mean different things to different people. Your image is creative to me in the sense that I can see something of 'You the Photographer' in the picture. The creativity is subtle and relates more to a visual story produced through post-processing. I like the idea of a beam of light. |
Jun 25th |
| 21 |
Jun 19 |
Reply |
Steve, Thank you for your comment on the reflections. |
Jun 25th |
| 21 |
Jun 19 |
Reply |
Susan, Agree it would have been useful to see the original.
|
Jun 25th |
| 21 |
Jun 19 |
Reply |
Susan, I agree with you that the opaque screen softens the sharp image behind and creates that visual conflict between pseudo soft-focus and sharpness. Perhaps the image doesn't need the frosty screens at all and would work with just my shadow falling over the ties and double yellow lines.
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Jun 25th |
| 21 |
Jun 19 |
Reply |
Steve, John Hilliard's raison d'etre was to create an alternate focus to delay the viewer from getting to the meat of the picture beyond, which without the distraction would be the main focus of attention. I can see where you are coming from and in some respects I agree with you. I wondered whether I needed to more clearly define the edges of the overlapping opaque screens with something like a 5 pixel black stroked line to separate foreground from background. |
Jun 25th |
| 21 |
Jun 19 |
Comment |
Susan, I much prefer your manipulated version to the original. You have created a wonderful sense of mystery and intrigue. I have a reputation as a photographer who doesn't do sharp and who doesn't do sky. Therefore, it will come as no surprise that I love your absence of sky. The overall Autumnal feeling to the image works well and creates a tonally warm, dark vignette around the mine entrance. Compositionally, it is so important that the door is open and this together with the 'Danger' sign draws me in to the darkness beyond which I want to explore. It feels a little on the soft side and I wondered whether it could do with a tweak of sharpening. |
Jun 12th |
| 21 |
Jun 19 |
Comment |
Peter, I have always been a fan of the block extrude filter and polar coordinates which, when used subtly, can be very effective. I like the pixelated colour blocks that you have achieved on the left side of the image which creates the illusion of a strong fountain exploding skywards and falling into subtle hues on the right hand side of the frame. I sense at this stage you realised that you had created a theatre backdrop against which you needed something/someone to perform. Unfortunately, your choice of tiger doesn't work for me as it is too regular in its boundaries and it creates the illusion that is running out of and not into the picture. I wondered whether something like a butterfly flying towards the top right hand corner or a dolphin diving towards the bottom right hand corner would have worked. Perhaps rotating the image 90 degrees anti-clockwise and adding a sailing ship? |
Jun 11th |
| 21 |
Jun 19 |
Comment |
Steve, You have done well to create this miscellany of saturated colours, shapes, patterns and textures. I am reminded of salt crystals growing in a petri dish at school. I like the way that the shapes are erupting outwards like a star burst filter but I wanted to see the whole paperweight and its domed surface against the dark background. It is a pity for me that there is a vertical regularity to the horizontal ripples and I would have preferred a greater irregularity to enhance the overall aesthetic. I wondered whether there would be merit in removing the colour from the water and blurring the water line. |
Jun 11th |
| 21 |
Jun 19 |
Comment |
John, I like the idea of isolating the black/red/grey car from the dark background which creates the illusion that it is floating through space. It is a pity that the image is pixelated (presumably this is a function of the pixel stick) which for me hasn't quite worked. The process to cut/paste from one image into another and then to resize has been well executed. However, I find the vertical reflections on the bonnet (or should I say hood) a little distracting. I would like to have seen more perspective recession through the car to give the feeling that the car was emerging out of the black abyss. |
Jun 11th |
| 21 |
Jun 19 |
Comment |
Joan, This is very much a labour of love and a technical exercise par excellence. I find with digital imaging, the keynote is knowing when to stop fiddling and diddling. As a technical experiment it works well and you have created a kaleidoscope effect that is intriguing which draws me in to the myriad of shapes, patterns and textures. However, having said all that, I much prefer your original image which is truly lovely. I particularly like the strength of the three main colours (yellow, red, steely blue) and the three curves of the leaves. Three is a compositionally strong number as it creates a visual triangle of interest and I absolutely love the way that the yellow flowers and the red fronds pop forward from the dark toned background. Brilliant!
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Jun 11th |
5 comments - 6 replies for Group 21
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5 comments - 6 replies Total
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