Here are my thoughts on this weeks submissions; Emily L. Ferguson, Skylight on Mud Ripples: Good image, the type that could be classed as impressionism-life out of context. Good comp. I would lose the tiny black dot at the top of the frame. I also get a hint of blue in the shadows instead of being pure black as I expect them. Taste? Rand Flory, The Drink: I too have never pulled off one single still life and therefore never developed studio skills and as a result always have a difficult time discussing other's work from that discipline. I like this image, the warm light provides the needed ambience for the atmosphere depicted. Comp is good, with good shadow and highlight detail. I am bothered somewhat by the closeness of the candle, it intrudes onto the main focus of the drink. I also wonder, had you spun the glass to bring the lemon just a tad closer to us, would the comp gain in strength? Dan Mitchell, News From Home: This is an unfortunate image. The comp is very strong, very journalistic. Yet, there is no focus. There is nothing telling me why this image has the title it does, and the caption, suggests the photographer felt he had a strong comp, but did not have any idea what the focus of the image was, so he is telling us to come up with one. In that respect, the image fails. It's not up to me to define someone else's intent in their image. If the work "IRAQ" had been included in the headline, this alone would have made a huge difference. Judy Curiel: I am curious why the past tense in your feelings about the image. This is a nice image, comp works well, exposure is a bit high keyed, yet detail remains through out. The gangster lean is fun and there is enough information provided that we do not need a caption, nor a title. The one bolder shadow detracts a tad from the rest of the pastel like colors. The one reflection that curves opposite of all the other reflections is also a bit of a distraction. Rich Mason, The Climbers: Nice image. An excellent choice of placement in the tiny humans amidst their vast world of snow and ice. Strong work. I don't really see any white, is there white in this image? Gregory david Stempel, Waiting For Another Run: This is a very early image of mine, taken in the eighties I believe. The image actually is a good example of the difference between still images and shooting video or film. Shooting moving footage adds one element a still never will, sound. When I got out of my truck to take this image, the sound of about 50 or 60 semi trucks idling, as was this one, assaulted my ears. There was a powerful presence in this parking lot. Pini Vollach, Venice 2003: Very nice image. Great comp, great animation and bold colors. Having only the one full mask to look at, adds to the drama and heightened nature of this image and a bold point of focus to help or assist in carrying the rest of the image. It's unfortunate the person in the background with the sunglasses had to look your way at that moment, he or she is quite a distraction. Jim Davis, Conversation Don't get me started. Had you removed the drops, no one would have known. You take it from there. You're still working with the egret, that's good. This installment has a little more power that the last shot. I like the comp. Unfortunately, the bird's back gets caught up in the highlights of the boat which for the most part lack detail. This is another image, where the title actually diminishes the image somewhat. The fact there is a marked difference in the focus of the bird and turtle, means they are not on the same plane and therefore not really having a conversation. David Small, For Sale: Strong street scene. Very bold graphical detail. I found a sad humor in the One Way sign pointed at the metaphor for what was once America The Beautiful, led by hawks, a place where everything is for sale. There is nothing beautiful here in the respect not of the photographer's work but what the image depicts. Cars, once a symbol of our independence, now....pollution. Fences, keeping some in and others out. A darkened landscape losing it's color. Have the trade towers become a symbol of America? Are we that shallow? Great shot. Jim Snarski, Eye On The Prize: This image has lots of potential, the head of the heron unfortunately is lost in the shadows of the background. The intense eye contact is wonderful and the comp is right on. The overall dark nature of the image is symbolic of the hunt being played out here. Is the image a little soft? Alan P. Hayes: Symbolic of Lee Freidlander (SP?) and work common of the early sixties and seventies. This image is classic in it's depiction of the frozen moment. A touch of Bresson' anyone? The image does seem true to it's nature, a snap shot of inner city life. There is also a wonderful juxtopositioning of the huge truck not even noticing the small insignificant women who is apparently j-walking and perfectly confident, navigating this busy street without fear being impaled on the grill of some MACK. Highly indicative image of our adaptabilities and the environmental conditions of millions who have been urbanized without notice. Don Draper: I like the "S" shape of the comp. The nice exuberant color of the flowers is wonderful. The greens seem pale, but the image still works. We are given enough information about the flowering plant to understand slightly how it lives. Thanks everyone. Take care, Gregory david Stempel FIREFRAMEi m a g i n g
