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| Group |
Round |
C/R |
Comment |
Date |
Image |
| 21 |
Aug 22 |
Reply |
Hazel, Many thanks for your kind words which are much appreciated. I agree with you that the overlapping lines create an added level of interest with the whole universe spinning counter-clockwise. |
Aug 27th |
| 21 |
Aug 22 |
Reply |
Joan, Many thanks for your kind words which are much appreciated. Imagine my surprise and consternation in the Keukenhof Gardens in Holland when I turned the corner and saw the mini embedded in a plot of blue and white tulips. Clearly, I could not walk by without taking a snap. I suspect the red streak came from the small flower in the background above the car's windscreen. I like the way that the lines leading to the centre create the illusion of disappearing into an empty void. |
Aug 27th |
| 21 |
Aug 22 |
Reply |
Steve, Many thanks for your kind words which are much appreciated. This image is very much full of leading lines which takes the eye hither and thither; all over the place in an attempt to make sense of what we are looking at. |
Aug 27th |
| 21 |
Aug 22 |
Reply |
Mike, Many thanks for your kind words which are much appreciated. I agree with you that we see the whites and blues first of all and then we see the other more subtle colours which makes us look deeper into the image to try to make sense of what we are seeing. I like the idea of a translucent car at the centre of the twirl and I attach an example below. |
Aug 27th |
 |
| 21 |
Aug 22 |
Reply |
Bev, Many thanks for your kind words which are much appreciated. It seems ages ago that I was also in Study Group 9. |
Aug 27th |
| 21 |
Aug 22 |
Comment |
Mike, You are to be congratulated in creating such an imaginative and innovative composite image which shows a great deal of technical competence and is to be admired. I particularly like the way that the rectangular box sits in the ocean and the way that you have blurred the lower edges to create the illusion that they are physically below the waterline. I wondered about the different colours of the water in the block and in the ocean; the impact would have been greater if they had been the same, like the transfer of water in the lower left corner of the block. I like the shadow under the flat ocean and the gradient monochrome in the background. Congratulations and well done. |
Aug 27th |
| 21 |
Aug 22 |
Comment |
Hazel, It would be quite easy to nit-pick the individual images; eg #1 (distracting out-of-focus flowers bottom left-hand corner); #2 (stalk on left-hand flower and out-of-focus petal on right-hand flower); #3 (foreground flowers bleeding into background) but that would not be the point. The essential criteria here is that you have created a triptych from pre-visualisation through execution to completion and for that you have my admiration. I like the overall romantic feeling you have achieved, the limited colour palette used and the way that you have placed one/two/three flowers from left-to-right. I would like to have seen each of the three images surrounded by a one pixel stroked line and with a drop shadow to lift them from the background. A textured background and/or complementary colour behind the images would have been beneficial. The keynote in preparing a triptych is to have a commonality of hue and tone in the background of each image. Of course, you could have three separate portrait images linked by subject matter or you could have one landscape image split into three segments.
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Aug 27th |
| 21 |
Aug 22 |
Comment |
Steve, Your use of mirrorlab has created an interesting kaleidescope recession towards the Christmas tree in the distance to which we are visually drawn. There is an interesting dichotomy here between the brightness of the pseudo-reality of an outside through-the-window view on the left-hand-side and the darker chaotic appearance of the bottom half and right-hand-side of the picture. I find my eyes being drawn to the brighter half and away from the wonderful variety of detail in the darker half of the picture. Therefore, I wondered whether there was scope for cropping tightly onto the darker parts of the image and flipping the end-result horizontally per my example below. This version has a good lead-in line which takes the eye to the Christmas tree that is in a compositionally stronger position off-centre in the frame. |
Aug 27th |
 |
| 21 |
Aug 22 |
Comment |
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Aug 27th |
 |
| 21 |
Aug 22 |
Comment |
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Aug 27th |
 |
| 21 |
Aug 22 |
Comment |
Peter, When I first saw your image, I was immediately drawn to the plumage of the flamingo in the foreground and to me that is where the picture is. I have cropped tightly onto this area, flipped horizontally/vertically and rotated the selection per the examples below. |
Aug 27th |
| 21 |
Aug 22 |
Comment |
Peter, The saturated reds are lovely and together with the white feathers provide a good focal point to keep drawing my attention back into the image. I prefer the upside-down version as it adds much more to the possible visual stories. I would be inclined also to to flip it horizontally to strengthen the impact of the flamingo's wing in the background per my iteration below. |
Aug 27th |
 |
| 21 |
Aug 22 |
Comment |
Joan, I like the overall structure of your image which works well. The T-shaped trunk and canopy provides a solid foundation for the picture and this contrasts well with the romantic feeling of the floating leaves and poppies. I like the disconnect between the solid leaves descending under gravity and the poppies defying gravity and being sucked up into the tree canopy. I have flipped your image horizontally to emphasize the left-to-right visual flow and added a touch of radial blur to reinforce the sense of movement. |
Aug 27th |
 |
8 comments - 5 replies for Group 21
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8 comments - 5 replies Total
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