work now on display at http://www.rit.edu/~andpph/gallery.html include: OK, no excuses, just can't be bothered to do a full review. Takes too long and the house seems empty for the summer. But I did like the past week's gallery a lot. Maybe that was swayed by two or three real corkers ... > Marilyn Dalrymple - A departure for maralyn's normal stuff. Not all submissions have to be the best artistically. This one was both interesting and educational. > D.L. Shipman - What ever happened to whats her name... A fun picture and probably much better than the unmadifed original. I can't place what it is but these impressionistic filters don't seem to have as cool an effect as impressionistic paint. Is that bias, probably, but if it was done in oils on canvas I'd probably be raving about it ;o) > Mario Filipe Pires - pinhole car Yep it looks like it was in a car. Needs some clever words to make me want to look beyond that (pinhole is not enough) > Janine C. Hanson - Winter Wisteria, NY-2001 Nice shot. Why does it matter if a shot is cropped in PS (let alone the version number)? Do other programs crop differently? Do we comment on negatives that are printed anything other than full frame? The only real reason I see for mentioning cropping is when it is CROPPING and then to explain the lack of quality (grain) that reslts. > King/Arthur - St. Pat's Parade OK, don't like this at all as a picture but I appreciate the explanation of what you were trying to do. The selective blur did bring attention to the green thingumy. What failed (maybe you work harder next time) wat tha the selective blur appears uniform across all the background irrespective of distance. The woman and the distant house equally blurred. It's worth doing but I notice the problem even before I read your explanation. Thanks for getting me thinking about this. I have used selective blur myself but not to the stage where anyone has commented (less is more, as with sharpening). > Christopher Strevens - Stones Thanks for bringing my attention to "Andy Goldsworthy". Some of his work is fantastic. Sadly having been to see his work I started judging your pile of stones against it and came away feeling they were just a pile of stones. > Rich Mason - Hi Rich. Yes, this does indeed look like the image you took on Raphael. It's obviously been heavily manipulated though. You have taken away that attractive green sky, the magenta grass and the deep blue shadows. Perhaps you should contact Jan for some advice on scanning the way a pro does it. This one looks too much like, well, a photograph. love the recession. I wouls have gone for an even wider lens and got closer but heck, I didn't take it. Hope you donated the model the price of a beer ? > Dave Van Verst - Right Section-Ruby Falls Nice picture but no real strong point of interset. The green fingers bottom right distract me. > Karen Powell - Blueberries in Waiting "I am a beginner photographer interested in trying to improve my skills" OK, lessons that don't involve spending much money. 1) get a tripod and cable release 2) learn to use the tripod (it might mean waiting for the wind to drop - there is usually a time in the day when it goes calm) 3) use a polariser: the reflected sky on the leaves kills the shot. 4) concetrate on detail (easier when using a tripod than hand held). The leaves top right are distracting as they are damaged. Good luck. > Roderick Chen - red Fantastic shot: most weeks this would have been my "pick of the week". Simplicity is underestimated. OK, it is a "camera club" shot (a photographer's picture) but I can't help but like it all the same. > Jose Luis Vasconcellos - Paloma Truly excellent shot: really professional. I'm wondering why you clipped the hair ends on the left side but I thing the white to the right works well. Yes: if I could get shots like this I would feel I had made it at portraiture Mt shot of the week. > Christiane Roh - Bourgogne, May 2002 Nice flowers with suitably out-of-focus background. Focus is maintained on the petal coming to us. All the others are cropped bar one. Detail? sommat sticking out below and to the right of the main petal. The sort of detail that can make or break a shot. Bob
