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| Group |
Round |
C/R |
Comment |
Date |
Image |
| 21 |
Oct 20 |
Reply |
Peter, I love the idea of waking up in the morning and thinking to myself "What can I do today?" And then the idea comes flooding into my waking consciousness. "I know what I'll do, I'll go and shoot some mushrooms!" Brilliant! On this side of the pond, that might be a problem unless you lived on a farm somewhere out in the sticks. |
Oct 25th |
| 21 |
Oct 20 |
Reply |
Steve, Thank you for your kind words which are much appreciated. Like you, I am a fan of the rogue panorama technique. As you are a fan of bolder, saturated colours I offer the attached version just for you. |
Oct 25th |
 |
| 21 |
Oct 20 |
Reply |
Peter, Thank you for your kind words which are much appreciated. I am delighted that you picked up on the body language of the 'couple' who are clearly in a relationship and with the symbol of love overhead. My style of photography is such that I try to shy away from things that are sharp, favouring instead soft-focus images that represent feeling, emotion, mood that become sharp in the mind's eye of the viewer. In a way, symbolism becomes much more important. |
Oct 25th |
| 21 |
Oct 20 |
Reply |
Phillipa, Thank you for your kind words which are much appreciated. I like the way that you warm to the visual story which is encapsulated by the couple and the dove. |
Oct 25th |
| 21 |
Oct 20 |
Reply |
Joan, Thank you for your kind words which are much appreciated. In the original, there was a small patch of dark blue in the sky. When I moved the camera while the shutter was open, this technique stretched that blue patch and indeed produced a second version which created the illusion of a bird flying in the sky. I like your analogy of the image being printed on metal and I suspect that was a function of blue being the dominant colour in the composite. When producing our images, it is amazing that we don't always see what is there in front of us. In this case, you have highlighted how the various ingredients in the picture mirror each other; two figures, two doves, two posts. I take your point about the wide border but I was trying to create an image hovering over a larger and more soft-focus version of itself. What I particularly like about this technique is that the end result is always different and you cannot get the same effect twice in-camera. Even although the image is blurred, there is a feeling of pseudo-reality in the mind's eye which is quite attractive.
|
Oct 25th |
| 21 |
Oct 20 |
Comment |
Steve, I didn't notice it first time I saw your image but the more I look at it, the more I can see the cruciform shape of the robot with the headlights beaming from its face. It reminds me very much of a child's transformer toy which morphs itself from one shape into another. |
Oct 23rd |
| 21 |
Oct 20 |
Reply |
Joan, I have just spotted your Blue Chrysanthemum image on SG15 which is different to the one you have posted here. I am drawn more to that one as there is a crispness to the flower which I find quite attractive. |
Oct 22nd |
| 21 |
Oct 20 |
Comment |
Phillipa, I like the 'Old Masters' feeling you have achieved with your composite. They do say that if you can get something of yourself into your pictures then you have done well. In this case, we have the bruise which I assume belongs to your good self. Interesting that Rick wants less fog whereas I want more fog, mist and intrigue to make it more Turneresque. I agree with Peter that the catamaran needs to be more off-centre to increase the overall visual dynamic and his flipping horizontally has made better use of the mooring lines as a left-to-right lead-in to the picture. |
Oct 22nd |
| 21 |
Oct 20 |
Comment |
Steve, Your accidental shutter release has created a myriad of shapes, patterns, textures and colours. This is a very busy image (I am an advocate of less is more) but in this case it works. I am always drawn to images where I don't know what I am looking at which makes me engage with them and ask questions of myself. You have done exceptionally well to transit from your original image to the 'Runaway Robot'. |
Oct 22nd |
| 21 |
Oct 20 |
Comment |
Peter, As an aside, I can remember when I was a young child growing up, my parents saying "Dont't play with your food." And here we are decades later, a photographic colleague doing just that. I am salivating at the thought of the artichokes swimming in balsamic vinegar and garlic butter. Yummee! As for the image, Rorschach Inkblots spring to mind here. I like the Fractalius/Topaz effect that you have achieved particularly in the lime-green areas which is very attractive. One of the things I see is two hands, thumbs touching and encompassing an empty space into which something needs to be added to complete the overall visual story. |
Oct 21st |
| 21 |
Oct 20 |
Comment |
Joan, This looks like having been a labour of love. I like the way that you have arranged the dark tones in the centre of the flower, how they get lighter towards the outside and how they seem to blend with and bleed over into the background. The softness of the background works well. Colour preferences are a personal thing but for me I'm not sure about the overall pink hues. Also I wanted to see a little bit more punch in the centre of the flower. Would the image work if it was flipped horizontally to make good use of the left-to-right visual flow through the stems? |
Oct 21st |
5 comments - 6 replies for Group 21
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5 comments - 6 replies Total
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