|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 41 |
Sep 24 |
Reply |
Brad, Thank you for your kind words which are much appreciated. I grew up with transparencies (Ektachrome, Fujichrome, Kodachrome) so they have a special place in my heart. |
Sep 17th |
| 41 |
Sep 24 |
Reply |
Melissa, Thank you for your kind words which are much appreciated. Over the years, I have been a member of SG9, SG21, SG41 and have always been amazed how much we learn from our fellow members. They are an invaluable source of new ideas and techniques. It is a pity that the RPS in UK does not have a similar structure. |
Sep 10th |
| 41 |
Sep 24 |
Reply |
Melissa, We have an expression on this side of the pond - 'If you want something doing then give it to a busy person!' I wish you well and every success in your new appointment as Publications VP. I expect your participation in DDGs over the years has provided welcome respite from all your other PSA commitments. |
Sep 10th |
| 41 |
Sep 24 |
Comment |
Tom, I had to look twice at this image as it has none of the hallmarks of your monochrome images that I have come to love over the months. Therefore, I would not attribute this image to a Tom Kredo work. Having said all that, I simply love it. Your use of the panning technique has created a lovely panorama with romantic overtones. I particularly like the way that the tones are graduated; darker on the left flowing through to lighter on the right. You have placed the geese central in the frame which makes for a visually static picture. In order to increase the overall visual dynamic, an off-centre placement is preferable. In the version below, I have taken a sliver off the left-hand side (Crop), tweaked the exposure (Levels) and added a touch of sharpness (Unsharp Mask). In this iteration, the geese in the sky seem to take on a more dominant role. |
Sep 9th |
 |
| 41 |
Sep 24 |
Reply |
Melissa, Thank you for your kind words which are much appreciated. Glad you found the technique useful with applications to your own work. |
Sep 9th |
| 41 |
Sep 24 |
Comment |
Melissa, A warm welcome to Study Group 41; I hope you enjoy the experience and I look forward to seeing many of your images in the coming months. Your offering this month was clearly a labour of love. I like the way that you have pre-visualised the 'Squirrel Convict' and assembled the disparate elements into a composite whole that has an intriguing visual story. You will see from my comments to Brad that I have this thing about left-to-right; in Western cultures where we read/write from left-to-right, we expect to see the diagonals and lead-in lines following a similar convention. I have taken the liberty of flipping the image horizontally and for me this enhances the visual journey through the image; eg I now notice more the bend in the track in the top right-hand corner which invites me to take the journey. I have also cloned out the bright areas on the grassy bank which were distracting and added a drop-shadow beneath the squirrel and nuts as they seemed to be floating. I had a quick look at your bio and have the following comments to make. Firstly, I too still have my 1970's Minolta film camera. Secondly, you obviously have a busy schedule; how do you manage to fit everything in? They do say that 'Busy haands are happy hands'. |
Sep 9th |
 |
| 41 |
Sep 24 |
Comment |
Brad, My initial reaction was that there is a visual disconnect between the overall dark-tone lighting on the landscape and the light-tone lighting on the owl. The effect of this is that wherever we explore the landscape, our eyes keep returning to the brightest part of the picture, which is the owl. As you know, I have this thing about left-to-right lead-in lines. Therefore, I flipped the image horizontally which works better for me with the owl bottom left. I also tweaked the exposure (Levels), added a touch of sharpness (Unsharp Mask) and then stroked a one pixel white line (50%) inside the image to prevent bleed-over. |
Sep 9th |
 |
3 comments - 4 replies for Group 41
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3 comments - 4 replies Total
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