|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 41 |
Oct 23 |
Reply |
Brad, It works for me and gels more with the other blur. Well done |
Oct 23rd |
| 41 |
Oct 23 |
Reply |
Brad, I have this thing about movement 'into' and not 'out of' the picture frame as it is one way that we photographers can control how viewers perceive our images and share the visual aesthetic. |
Oct 22nd |
| 41 |
Oct 23 |
Reply |
Brad, A small point but I would like to have seen the flames from the head parallel to the motion blur from the skeleton. |
Oct 22nd |
| 41 |
Oct 23 |
Reply |
Nadia, Many thanks for your comments which are much appreciated. The original photograph used was the 'Original' I submitted as above. It was very much a case of selecting bits from the original and rearranging them in a different way that stretched the imagination. I agree with you that the end result was not unlike a piece of graphic design work, ie bordering on the boundaries of photography. I also agree that from a pictorial perspective, the Original has a visual story to tell where all the dots have already been joined up for the viewer. |
Oct 22nd |
| 41 |
Oct 23 |
Reply |
Tom, Thank you for your comment, much appreciated. I am delighted to read that the image drew you in and caused you to engage with it because you didn't know what you were looking at. That's a success for me! |
Oct 22nd |
| 41 |
Oct 23 |
Reply |
Brad, Thank you for your kind words which are much appreciated. I like the idea of presenting images that draw the viewer in, that engage with them to try to understand what they are looking at and that create visual puzzles that require a resolution. I like your analogy of solving the puzzle and the possibility that the solution may be totally different from the original.
|
Oct 22nd |
| 41 |
Oct 23 |
Reply |
Lisa, Thank you for your kind words which are much appreciated. I like your analogy of most images being just pretty pictures and how they can be interpreted differently; this creation v compliance. I hadn't appreciated it before but now that you have pointed it out, I can see not only how the two vertical linear chains split the image in two but also create a visual tension with the otherwise analogue image. |
Oct 22nd |
| 41 |
Oct 23 |
Comment |
Lisa, Your submission this month is simply outstanding and is the kind of photography that I love. Not only do I warm to its technical competence but also the artistry and romance of the end result. It is compositionally strong, the colour palette is lovely, the flood filter effect draws the viewer in and the gradient effect between the pseudo water and the soft-focus sky is a master stroke. Removal of the balloon for me would be a mistake as it provides a visual link with reality and adds to the visual dynamic of the piece. Thank you for your link to the Petapixel water-balloons-popping clip which I will try with my Canon 40D converted to infrared. Congratulations and very well done.
|
Oct 22nd |
| 41 |
Oct 23 |
Comment |
Nadia, This is a technically very competent piece of work. Your process of pre-visualisation through to execution demonstrates good cognition and digital imaging skills. Overall, it is a very busy image with much in it to occupy our attention. I would argue that perhaps there are too many elements present and that the overall image would be stronger with fewer of them. Your composite for me is one of two halves, both of which would stand alone in their own right. I particularly like the way that the trajectory of the papers emanating from the sound horn embraces the moon and imbues the inanimate objects on the left-hand-side with human resonance. I tend to agree with the others that there is a sense of cut-and-paste with the bottom of the lamp-post, the dancer's ballet shoes and the bottom of the gramaphone despite your use of the various blending modes. I would like to have seen a hint of drop-shadow in these areas to ease the transition. Not sure about the regularity of the two pairs of birds which doesn't quite work for me. My favourite parts of your image are the sheets of music wrapping around the moon, the rocky texture of the water and the golden fairy dust sprinkling below the street lamp. Overall, I congratulate you on your technical prowess in creating this image and I only wish that I had your level of expertise. Congratulations and well done. |
Oct 22nd |
| 41 |
Oct 23 |
Comment |
Tom, I like the softness of the water and the overall subtle tonal quality throughout the image which adds a romantic tranquility to the image. Placement of the seagull in the lower right-hand quadrant works well and adds a good foreground focal point. I debated whether a horizontal flip would add to the compositional strength and visual flow of the image, but the jury is out on that one. I also wondered about placement of the birds in the top right quadrant and whether the image would be stronger if they had been positioned a little more to the right? I was interested to read that Lisa warmed to the left-to-right flow through the image, as I saw it more as a right-to-left. I like Nadia's suggestion to introduce some mist/fog as that would add a new visual aesthetic and dynamic. |
Oct 21st |
| 41 |
Oct 23 |
Comment |
Brad, I like your pre-visualisation in this image and the way you have taken three disparate originals to create your composite which has been well constructed and has an engaging visual story. The tonal quality and contrast works well throughout. However, I am someone who is a little uneasy with subjects moving out of the picture frame and taking our attention with them. I would like to have seen the skeleton and motorbike in the lower right quadrant and heading into the field of view. Alternatively, it would be fun to leave them in situ but to add several iterations (with diminishing scale and opacity) trailing behind. |
Oct 21st |
4 comments - 7 replies for Group 41
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4 comments - 7 replies Total
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