Activity for User 957 - Trey Foerster - three4ster@gmail.com

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1146 Comments / 313 Replies Posted

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Group Round C/R Comment Date Image
56 Jun 25 Comment Martin, playful. This image is well captured and a great example of shooting wide and then cropping to the action of the image. The background contrasts nicely with the main subjects. The lines of the flooring lead into the image. But for me, I don't think the main subject is the influencer since you can't see her face! All the action, all the emotion is on the photographer. Even her pose creates a half-circle that helps eye movement within the image. I like that you got the influencer arms where you did. Jun 29th
56 Jun 25 Comment Tom, ahhh … you've stumbled into one of those controversial areas. Congratulations! Well-known landscape photographer Michael Shainblum said this: "Make art because you enjoy it. You're on your own journey." I recently produced a street art book that was comprised solely of square photos. Many photographers were shocked at that; street photography photos just aren't square. I have shot murals and used them to tell a color story within a small-town downtown. I have shot murals that are part of a contrast of geometric patterns at a location. I shot a mural of a couple of hands on a wall and the pedestrian walk sign with a hand illuminated. None of these has people in them. I must take a wide view of street photography: if you're on the street, you're doing street photography - for me, that includes rural roadways. Street photography does not have to have people in it, though some photographers prefer that in their own photography.
Now to your image technically. The one setback it has is that you're shooting up, and the top of the parking garage has strong sunlight coming through. I'd opt for a more horizontal shot and bring the silhouette onto the right upper third intersection. If you're shooting the mural, own it. This location would probably be awesome at night, and if you could somehow find somewhere with more height to shoot from.
Jun 29th
56 Jun 25 Comment Gehard, the old question that haunts photographers: should it stay or should it go, does it enhance the image or detract from it? Compositionally, the image is well balanced, with the sun at the right third, and the leading line of the pier contrasts with the support posts. The sky is warm and the clouds soft and beautiful. Then we come to the hand at the far right. If you didn't have it there, I think your image would suffer. It makes the viewer ask questions. What other shots did you take to relate more of the story of this place and time? I would have zeroed in on the people with the colorful flag/kite on a walk up the pier. Jun 29th
56 Jun 25 Comment Cisco, your image tells a story, has a lot of interest and captures the environment of the shot well. I like your choice of b&w for the reasons you outlined in the discussion above. Composition is strong as is DOF. The strong vertical lines in the image contrast with the horizontal bricks. Jun 29th
4 comments - 0 replies for Group 56
76 Jun 25 Reply Nice "catch" Gordon, with regards to the post. I left that in to use as a vertical alignment of the image, but after that it could have been cropped out without being missed. The official is an umpire. Jun 28th
76 Jun 25 Comment Henriette, I think you have done well to soften the strong horizontal lines of the tree trunks so as not to overpower the other elements. I would suggest making a few different crops on it because with ICM images, many people's eyes go to different areas for different reasons. Try one crop with a significant portion of the top cut off (16x9), and do the same with a significant part of the bottom cut off (16x9). I see a vertical 16x9 at the right edge. Or a square of the bottom right corner. You get the idea. You might want to offer these to furniture store room planners for wall artwork, ditto for business offices. There's also a triptych … Jun 28th
76 Jun 25 Comment Damn man, this is good! Your print should sell well. Jun 28th
76 Jun 25 Comment Jay, you captured a great silhouette image. The sky's colors glow. You've put the fisherman's both on the left third, and his head cuts through the horizon line. I can't do any better than what Gordon provided you with. Great image to play around with and definitely moody or inspirational - I can see a quote in white type in the sky at top right …. Jun 28th
76 Jun 25 Comment Sanford, you caught this portrait very well. Sharp, expressive eyes. The bent elbows to the head are wonderful. Just a magnificent portrait. Kudos! Jun 28th
76 Jun 25 Comment Ian, a nice trio of cityscape captures. Night photography is a genre that I don't often immerse myself in, so I quite appreciate your images. The opera house colors are vibrant, and the geometric shapes provide a lot of contrast as do the colors. I don't think you need all that harbor water though. As to the blue seagull image, the nice thing about street photography is that you don't have to have everything aligned, you can stay "loosey goosey" as we say Stateside. The curves and lines provide a great background to the lighted subject. To my eye it, the main subject seems tilted to the right and its weight is so heavy in the image that it looks like you intentionally wanted to create a sense imbalance, drama. Finally, the skyline image is well composed and balanced to my eye. I like the building in the far right as a frame edge because if you follow it down, it runs into a metal outcropping, which brings the eye into the middle of the image. The blue dots and structure at the bottom provide a wonderful bottom frame. Nice images!

Jun 28th
5 comments - 1 reply for Group 76
9 comments - 1 reply Total

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