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| Group |
Round |
C/R |
Comment |
Date |
Image |
| 52 |
Mar 23 |
Reply |
In order to address all the great comments I returned to the original, imported into LR, edited in Topaz Photo AI (which I just acquired), back in LR used brush to lighten goose head just a bit. This could be the final version. |
Mar 19th |
 |
| 52 |
Mar 23 |
Reply |
Here is a take on your V idea. See my reply to Sharon for the head lightening. Thanks for your ideas. |
Mar 19th |
 |
| 52 |
Mar 23 |
Reply |
Thanks Ally, Im workin on that face. |
Mar 13th |
| 52 |
Mar 23 |
Reply |
Thanks Pamela. I will try that dodge. I too sometimes get better images with my iPhone.
|
Mar 13th |
| 52 |
Mar 23 |
Comment |
This Great Egret Portrait is BEAUTIFUL. The gleaming white feathers just leap out from the warm, dark and blurred background. The complementary blue/orange beak and that wonderful green patch near the eye, and that perfect eye add great interest. The compositional elements keep my eyes traveling throughout the image. From the green leaves lower right my eyes up to that green patch on the bird's face, and then down the orange of the beak to the subtle orange in the left mid background. For my brain these elements form a triangle which frames the elongated triangular shape of the birdbird. Now I know that this is a bird. BUT the angle of the image gives me the impression that he deep in thought and is resting his chin on his hand. I know that birds dont have arms and hands. But just look at it. |
Mar 11th |
| 52 |
Mar 23 |
Comment |
Fascinating shot. I have never seen anything like this. I would try a tighter crop in which half of the water and half of the sky are removed. This would leave some of the water texture but eliminate sky glare and bring the action closer to my eyes. Like Mike, I would remove the white spots on the water. There is a great behavioral story here, and I believe it would not be diminished by presenting the image as a PID rather than Nature. Thus I would darken and blur that row of buildings. |
Mar 11th |
| 52 |
Mar 23 |
Comment |
What a beautiful lilly. I like your original, and your abstract version. In both versions my eyes are drawn to the brighter background, particularly the upper right. I would experiment with decreasing the background brightness, sharpening the center of the flower and intensifying the purple center and ring of the flower to let it pop out of the background. I love the dreamy white petals. Great macro shot and impressive since hand held. |
Mar 11th |
| 52 |
Mar 23 |
Comment |
What a mysterious place. The light and colors in the sky and water contrast beautifully with the black wood. The gnarly shapes of the branches are wonderful, and reminiscent of Japanese ink paintings. I, like Mike, immediately thought of removing the wood to the right and left to intensify the minimalist appearance. |
Mar 10th |
| 52 |
Mar 23 |
Comment |
Great shot. Was the camera hand-held? Those graceful and powerful wings, fanned tail feathers, back-stretched legs and intense expression suggest that he is on a hunt. The top crop seems a bit too tight. I like Mike's suggestions, with one tweak: I would keep the foreground grass sharp as it places the hawk close to the ground. I would also experiment with a high key presentation. Since you have darkened the hawk, lightening (and blurring) the background and adding a slight white vignette would be another way to guide attention to the subject. |
Mar 10th |
| 52 |
Mar 23 |
Comment |
Lovely portrait. The water texture and the shadow enhance the image. I like the high key concept. My brain wants to flip the image horizontally so that the bird is looking to the right. My eye keeps being pulled up into the blue hue and texture of the sky. This does not happen as much in the original where the texture in the sky is much less, and the color just a bit warmer. I would try editing the sky by cropping out half of it, selectively reducing its texture (while keeping the water and bird textures), and warming the blue a bit. I would also try a very slight white vignette - feathered to keep the eye on the subject. This image would look great on a wall, and indeed would make a great card. |
Mar 10th |
| 52 |
Mar 23 |
Reply |
Many thanks Mike. I like your V vision and will try it. |
Mar 10th |
6 comments - 5 replies for Group 52
|
| 79 |
Mar 23 |
Reply |
Freddie, I love your interpretation. THANKS! |
Mar 17th |
| 79 |
Mar 23 |
Reply |
Lauren, YES it is just like that vase/head image. I am working on a border. |
Mar 17th |
| 79 |
Mar 23 |
Reply |
Thanks Peter! I am working on a border. |
Mar 17th |
| 79 |
Mar 23 |
Reply |
Karl, thanks for your comments! I am intrigued by the concept of "interval space" and would like to know more about it. Could you post the reference to the article where you learned of it? I took the shot with an iPhone 12 por max. The camera chose the settings which according to the image information were: focal length 75, F 2.2, 1/1,130 . What made this shot was the setting I used: Portrait, 2.5 magnification and stage light. I have been experimenting with this setting and I am getting some fascinating results. |
Mar 17th |
| 79 |
Mar 23 |
Comment |
I love those old typewriters. Could you post the original?
A wider crop would show more of the position of the instrument among the surrounding antiques. Another presentation could be created by removing all the surrounding "stuff" - except those wonderful cleaning brushes by selection. Then I might try a high contrast version in which the typewriter appears to be floating in from the past by sharpening it, increasing the vibrance, and changing the background to a white space or by adding a white blurred vignette. I would start with Silver Efex Pro's interesting filters for this look. |
Mar 9th |
| 79 |
Mar 23 |
Comment |
Karl, Could you post the original? I would like to see how long the stem was and how it was positioned, and I would like to see the original shadow. I am having trouble imagining the leaf to be floating. A wider crop might have helped.
Also, what camera, lens, filter and settings did you use. Your snow is beautifully white. The diagonal positions of the leaf and shadow are pleasing. That leaf is dancing while singing an operatic area. |
Mar 9th |
| 79 |
Mar 23 |
Comment |
Very interesting ICM shot. The distortion in the figure on the left gives an impression of angel wings. To the right of the female figure could be another figure, or is it a distortion of an object in the painting. I think I would remove the streaks under the frame that appear to be legs. This would strengthen the story of two creatures, one human and the other angelic, talking. The colors are wonderful. If you took a shot without the ICM can you please post it? |
Mar 9th |
| 79 |
Mar 23 |
Comment |
You have captured the high contrast light of Renaissance portraits. How did you produce the black background. The shadows on the face are a key component of the style, and could be stronger if you did not use the reflector.
|
Mar 9th |
| 79 |
Mar 23 |
Comment |
Fascinating abstract! The background is especially effective, and its green color complements the orange and pink colors in the sushi. The lines in the background together with the rows of sushi ingredients generate a whirlpool effect as distorted. Your process inspires experimentation. I would consider zooming out on the sushi to leave a wider border of leaf swirl. The lovely purple flower is lost on that orange. Moving it to have it centered over a wider green, or next to the white rice might highlight. The mirror distortions below the sushi produce an optical illusion of the sushi platter standing on end on a mirror. Very creative image. What is this Flaming Pear Sphere Warp A? Is that what you used to generate the mirror effect? |
Mar 9th |
5 comments - 4 replies for Group 79
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11 comments - 9 replies Total
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