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| Group |
Round |
C/R |
Comment |
Date |
Image |
| 70 |
Apr 18 |
Reply |
|
Apr 25th |
 |
| 70 |
Apr 18 |
Reply |
|
Apr 25th |
 |
| 70 |
Apr 18 |
Reply |
|
Apr 25th |
 |
| 70 |
Apr 18 |
Comment |
I agree with Pierre, The most appealing is strong leading lines and vivid sky color.
Like Glen, I would prefer water with texture possibly waves. I agree with Lamar, the composition would be much stronger by positioning the end of the bridge a bit left of the center.
Judy, you mentioned ... My eternal challenge is to find foreground elements on a beach. Indeed, that's everybody's challenge including my self. I have been waiting for more that an hour for sunset at the Huntington Beach California. None has been so obvious to be a foreground element until I saw a bird standing near the sun reflection and some one is riding a canoe. I must get wet to shoot low at the beach. In my view, luck (moment) in most of the times also play an important role in photography. |
Apr 25th |
| 70 |
Apr 18 |
Comment |
I love water falls. That's why I have a number of water falls photo stocks. But none of my collections has such a misty mood like what Glen has taken. Lucky you Glen!
If I were to get this picture, I would explore the misty mood by adjusting sharpness of the moss in the left and the right foreground but I will maintain the misty part in the background.
Like Judy's comment. Some waterfalls look better with silky effect (long exposure), others look better with a semi-slow and some look best with crispy fast shutter.
Normally, I would shoot waterfall on tripod, take several shots in bracket, then select and combine them by using masking and opacity layers in Photoshop.
In the following picture, I purposely de-saturate the falls to describe how I combined the silky, semi-slow and crispy falls.
|
Apr 25th |
 |
| 70 |
Apr 18 |
Reply |
This is one thing that I like so much with this group discussion. I am not learning only from what people comments on my pictures but also others comments on others pictures.
Charles educated me by admitting himself seeking for feedback for burned out highlights of the sky. I experienced my self not much you can do when you have imperfect pixels in your original RAW. That's one of my reasons, as suggested by Pierre, I always shoot in bracket at least -1, 0, + 1.
Charles, you have done a great escape by converting it to B&W. Job well done. |
Apr 25th |
| 70 |
Apr 18 |
Comment |
Piere, it's awesome. You inspired me for trying IR. Too me, photography is how to attract people attention to see our pictures closer. You have done such a great job. |
Apr 25th |
| 70 |
Apr 18 |
Comment |
I have no doubt. This is an excellent composition. You shoot low to make the tussock more obvious as foreground.
I agree with Charles to have more ligts in the upper right corner to make the whole scene more balance. And. I agree with Glen for more vivid orange sunrise sky to make it more dramatic.
I would brightened up the edge of the tussocks to make more outstanding foreground layers. |
Apr 24th |
| 70 |
Apr 18 |
Comment |
Lamar, indeed, my aim was to explore the blue hour by adjusting the sky to get vivid blue/purple hue. It could be too much to some audience especially when you see the original. Thanks for your input. |
Apr 24th |
| 70 |
Apr 18 |
Reply |
Thanks Glen. |
Apr 24th |
| 70 |
Apr 18 |
Reply |
Thanks Judy. |
Apr 24th |
| 70 |
Apr 18 |
Reply |
Pierre,
Normally, I am very particular about the lens distortion, horizontal and vertical straight lines in perspective. I missed it this time, I was too excited and concentrate too much in adjusting the lighting. I really appreciate your input.
Frans Gunterus |
Apr 24th |
| 70 |
Apr 18 |
Reply |
Thanks Steve. |
Apr 24th |
5 comments - 8 replies for Group 70
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5 comments - 8 replies Total
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