|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 20 |
Oct 18 |
Comment |
Hi Isaac,
Square by square. It took a while.
Cheers,
Paul |
Oct 10th |
| 20 |
Oct 18 |
Comment |
Hi Cindy,
Thank you. Yes, I did a colour version but it did not 'feel' right whereas the B&W had the newspaper look I was seeking.
Cheers,
Paul |
Oct 9th |
| 20 |
Oct 18 |
Comment |
Hi Betty,
Jerry is quite helpful with his comments. It's a documentary/PJ style of image and while Cindy also makes some excellent points there is also the comment made by Henri Cartier-Bresson where he would never allow any of his images to be cropped under any circumstances - made headaches for layout purposes in publications. You have captured the narrative of the scene, the history and the time difference of hundreds of years quite well. One could imagine the same scene with children dressed in clothing of the time doing exactly what is happening here in Henry 111 era. You have made a valiant effort of rescuing the image from the original where edge distractions competed with the main point of interest. Well done,
Cheers,
Paul |
Oct 9th |
| 20 |
Oct 18 |
Comment |
Hi Peter,
I take it that this is Cornwall, UK? If so we may meet up sometime in the future as my son lives in North Wales - close by each other in relation to Australia where I live:-)
To the image.
It has a natural 'Cubism' look to the image and the slight 'off axis' helps lead our eyes into the picture. Had it been more vertical/horizontal it would have been too static, whereas here it is more visually dynamic. There is a kind of geometric abstract look to it which is worthwhile pursuing.
Well done,
Cheers,
Paul
|
Oct 9th |
| 20 |
Oct 18 |
Comment |
Hi Shirley,
The violet and yellow complementary colours really work well. It is interesting in composition that dark colours on top of an image give a depressive effect but here the Yellow Mum is fighting against that with serpentine lines leading our eyes through the violet to connect with the orange flower on the top left edge. The tension owing to colour and post-production techniques makes it a visually very lively image. Well done,
Cheers,
Paul |
Oct 9th |
| 20 |
Oct 18 |
Comment |
Hi Cindy,
Top class piece of fine-art photography. It should do well in Open and Art Sections in Nature Comps of International Salons.
Although she works with horses your Fran Scott achieves similar 'art' images as does the Spanish nature photographer Marina Cano (but she is using natural dust for 'art' purposes).
I find this a real problem in Nature Comps as there is rarely an opportunity to submit the kind of image you have produced here. This image is a good reference to adopt a section in Nature Comps for fine-art nature photographs. well done,
Cheers,
Paul |
Oct 9th |
| 20 |
Oct 18 |
Comment |
Hi Nellie,
You went through a few hoops in the processing to bring out visual textures not so apparent in the original. Great choice of colours showing cold/warm contrasts in a reverse manner, something the painter Cezanne experimented with. The contraposition of man-made and natural elements of geometric and natural shapes makes it a much more memorable image than the original monochrome.It has a painterly look to it which is worthwhile experimenting with in a body of work. Good result.
Cheers,
Paul |
Oct 9th |
| 20 |
Oct 18 |
Comment |
Hi Jerry,
I often wondered about the actual reality of the canyon interior as I have seen some great images of it in magazines, in clubs in Australia and National/International Salons. You've solved my curiosity. We have similar difficulties with National Parks in Australia, especially my birth State of Tasmania. Conservationists are referring to it as 'Loving them to death!'
Your end result is subtle and not oversaturated which I think is a step in the right direction. It has an abstract look to it with the central rock formation looking a little like a seal rearing its head up. When I'm judging here one of the things I often refer to is "How do we make an image of a familiar subject and interpret it so that it is refreshing?" Well, you certainly achieved that here through the process and your unique vision. Cheers, Paul |
Oct 9th |
8 comments - 0 replies for Group 20
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8 comments - 0 replies Total
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