|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 21 |
Jun 22 |
Reply |
Mike, I meant to add that I think your title 'Dice(d) Tomato' is a master-stroke and works so well at different levels. |
Jun 22nd |
| 21 |
Jun 22 |
Reply |
Skip, I love your analogy of these men being lost in a sand-storm and them being led to safety by the flickering candle which itself was visually protected within the cage. Your PSA History of Photography Course sounds interesting and is clearly stimulating your thought processes. It is wonderful when you pick up an idea from a course or lecture, develop it to make it your own and then be rewarded with an accolade. Congratulations on your 'Best in Show'. |
Jun 22nd |
| 21 |
Jun 22 |
Reply |
Mike, We all find different visual hooks in our pictures and the delight of course is that they are many and varied. As a stand-alone image, the first one is probably the best of the bunch. I like the idea of the first image being central in a collage and the others circulating radially from it at increasing degrees of soft-focus and perhaps also increasing degrees of transition from colour to monochrome. |
Jun 22nd |
| 21 |
Jun 22 |
Reply |
Skip, I can well imagine Stephanie's reaction to returning to the flat, featureless landscape of Iowa having sampled the delights of Ireland and Scotland. I like your reference to 'Swooshes of colour' which sums up ICM perfectly. The important underpinning of any photographic genre is that we have to find our own individual style. I have decided that Stephanie will be added to my Christmas Card List. |
Jun 22nd |
| 21 |
Jun 22 |
Reply |
Hazel, Many thanks for your kind words which are much appreciated. You make a good point about losing interest between the first and last images. I agree with you that there is a great deal of similarity and perhaps less would have been more. |
Jun 21st |
| 21 |
Jun 22 |
Reply |
Skip, I meant to add to my last comment that I liked the image you attached, partly because of the ICM effect and partly because there was a hint of reality running through it. |
Jun 21st |
| 21 |
Jun 22 |
Reply |
Skip, Thank you for your kind words which are much appreciated. I agree that ICM can be a fun thing to do and what I particularly like about it is the fact that it cannot be replicated and it is different each time. My interest was sparked by the fact that I have benign essential hand tremor, which is not an endearing quality for a photographer. I have had a look at ICM Photography Magazine's website which is very impressive (see screenshot image). It looks very good value ($39 for 4 quarterly magazines each of which is over 300 pages) and I will probably join. I like Stephanie's philosophy on life in general and ICM in particular; chimp images, 1% success rate, therapeutic value. Thanks for the link.
|
Jun 21st |
 |
| 21 |
Jun 22 |
Reply |
Joan, Thank you for your kind words which are much appreciated. I quite like the idea of using ICM to produce abstract, creative images. In this case, I am drawn to the final image bottom right with the circular motion. At the time I took the pictures, it was very much a case of experimenting with different actions while the shutter was open. If I did this again, I would probably do it differently. |
Jun 21st |
| 21 |
Jun 22 |
Comment |
Mike, This is a very creative image and it is readily apparent that you have thought long and hard about what you wanted to achieve. Your journey from pre-visualisation to completion is an exemplar to us all. It is a technically and artistically competent piece of work that flows well as a visual story. The colours are wonderfully saturated and the graduated background works a treat. You have positioned the dice rather centrally in the frame which makes for a visually static picture. An off-centre placement, in this case probably to the left, would have increased the visual dynamic of the image. The overall visual story could have been further enhanced if you had removed one of the 'five' tomatoes and placed it in the bottom left-hand corner with a suitable drop-shadow 'looking up' at the empty hole which would beg the question "How can I join?" Congratulations and well done. |
Jun 21st |
| 21 |
Jun 22 |
Comment |
Hazel, Many of us would pick a bunch of flowers, stick it in a vase and photograph it in situ but not you. Your choice to float the flowers in water is masterly and one that I have not seen before. Normally, I am a fan of soft-focus, low opacity and anything blurred but this hasn't quite worked for me. I love your Original but it seems that you have lost some of the romance and magic in the transition to your submitted image. Overall, I love the blurred background and the colour palette which works well. However, I wanted to see slightly more sharpness in the central part of the bunch of flowers, which you have in the Original. |
Jun 21st |
| 21 |
Jun 22 |
Comment |
Steve, Thank you for talking us through your process to achieve a kaleidoscope image. As an expression of shapes, patterns, texture and repetition, your image works well. However, I would like to have a 'Hint of Reality' hook on which to hang my gaze. In this regard, I prefer your Original image and also Skip's example from Artscope. I am drawn in by the essential tenets of a kaleidoscope but if I can see a hint of reality among all the chaos, then that appeals to me even more. I wonder if there is any scope for applying a Radial Gradient Selection to change outwrds or inwards from monochrome to colour? |
Jun 21st |
| 21 |
Jun 22 |
Comment |
Skip, I love your image which works for me at so many levels. Thank you for outlining the process from preconception to completion. Technically, it is a very competent piece of work and shows something of the thought processes behind 'You the Photographer'. The visual story embedded in the composite is so poignant and engaging which draws me in. My initial reaction was to conjure up thoughts of a World War II fighter pilot returning home from a mission. The sepia toning, added granularity and reduced opacity are perfect for the visual story you are creating. I like the contrast between the sharpness of the cage and candle (reminiscent of miners carrying canaries in cages to warn of poisonous gas) and the softness of the main subject and his doppelganger. The sightless eyes are a master stroke. Congratulations and very well done. |
Jun 21st |
| 21 |
Jun 22 |
Comment |
Joan, This was clearly a labour of love which must have taken ages to complete working on those 40 layers. Compositionally, the image hangs together well with a total right-to-left visual flow throughout. You might like to flip the entire image horizontally to change it to a left-to-right flow. I like the placement of your daughter in the frame to create the illusion that she is looking into the picture. Given the total visual flow in the picture, it might be an idea to flip the dog's head in the large teardrop on the left-hand side which would create the illusion that all the cats and dogs were looking at the same dog that was different and that was looking at them. It was a good decision to concentrate on heads only as full bodies would have been distracting. I would like to have seen all the raindrops teardrop shaped; the two circular ones to the left of the hand tend to draw the eye. From a physics point of view, the cats and dogs in the raindrops should be inverted but from a pictorial point of view this may not work. Therefore, it might be an idea to invert one of the heads and have all the others looking at it. You might like to think about varying the opacity of the raindrops and also have the rain in front of the raindrops as well. I don't know whether it is me but the rain seems to be falling upwards. Nevertheless, congratulations and well done. |
Jun 21st |
5 comments - 8 replies for Group 21
|
5 comments - 8 replies Total
|
