Hi Rand, Thank you for your critique. For some reason, my photos generate questions. By fuzziness, do you mean indecisivness in subject matter or do you mean the finish? The last reviewer or two have commented on some problem with the finish or at least that is what I make of their comments. I use Paint Shop Pro to do my reductions for these shots. Perhaps it is introducing some pixellation. I can see it on my monitor, too, after the shots have been posted. They look ok before I send them. Should I consider another program for these kinds of things? I can't afford Photoshop, but inexpensive programs would be worth considering. Yours, <<fred.vansand2@verizon.net ----- Original Message ----- From: "rand flory" <ferret@wyoming.com> To: "List for Photo/Imaging Educators - Professionals - Students" <photoforum@listserver.isc.rit.edu> Sent: Saturday, September 20, 2003 2:45 PM Subject: Thoughts on PF exhibits for 09-20-03 > Forumeers, > > > > Here are my thoughts concerning the PhotoForum members' gallery/exhibit > updated on 20 SEP 03. Authors and now on display at > http://www.rit.edu/~andpph/gallery.html > > > > Scott Thurmond - "Martian Showerhead" > > http://www.rit.edu/~andpph/gallery/thurmond.html > > > > I like this photo a lot. It is so Fraseresque: a strong, graphic-like image > with interesting lighting. I don't like the title. It detracts. A title > should enhance a picture. When I first looked at this, I thought it was a > living entity. Then I read the title and thought it was some kind of > watering device at the Aquatic Gardens. Then I had to reread the caption to > finally figure out it really was a living entity. > > > > Having confirmed my initial impression, I was able to once again look at the > photograph and appreciate both the captured beauty of the rounded shape > framed by green-hued verticals in the background, and the inherent beauty of > the object itself with golden brown splashes of color protruding through > blue-green ovoids. > > > > Magnificent! > > > > > > Greg Fraser - "End of Summer" > > http://www.rit.edu/~andpph/gallery/fraser.html > > > > While I generally really like Fraser's work, and to a degree I like this > offering as well, it just does not seem to live up to his usual standards. > Even in his caption, Fraser comments about the "nice curves." That's the > part I want to see, but the most significant curve, the yellow sloping > around in the top right of the image, is cut off. The sweep of the shadowed > yellow cannot pick up the feeling, as the change in color and smoothness is > too abrupt. I like my curves smooth and complete. > > > > > D.L. Shipman - > > http://www.rit.edu/~andpph/gallery/shipman.html > > > > An aerial battle in black and white. A fantastic shot. There is so much to > like in this image: the outspread wings of the two birds complementing each > other; the "S" of the necks opposing one another, while yielding a symmetry > between them; and the legs. The legs of the top bird, which literally > connects the two birds on the flat plane is that part that adds perhaps the > most interest. > > Framed by the leaves below and the empty space above, this is an outstanding > piece. > > > > > Kostas Papakotas - "the amazing light conspiracy" > > http://www.rit.edu/~andpph/gallery/papakotas.html > > > > Papakotas is right. The play of light is wonderful in this picture. It makes > the singer burst forth from her background. This is good. > > > > But I am still trying to figure out what "relaxed soundcheck uneasiness" > means > > > > > > Gregory david Stempel - "Waiting on the Metro" > > http://www.rit.edu/~andpph/gallery/stempel.html > > > > Normally I really like Stempel's work, but this one goes over my head, which > probably reflects more on my taste than Stempel's eye. I do like the > minimalist representation of the person. It works well in this kind of shot, > as opposed to Fraser's lopping off the edge of a graphic curve. I also like > angle at which the image was taken. The "V" at the bottom gives a balance to > the image. The white inlaid concrete surrounded by a sea of grey is > interesting, especially when what seems to be the new is riddled with lines > of age, while the old, the grey stone, is relatively unscathed from the > ravages of time. > > > > So there are many individual elements that I find fascinating. But the > overall impression is just too dingy, too depressing, too grey. > > > > > Andrew Fildes - "Now THIS is a kingfisher..." > > http://www.rit.edu/~andpph/gallery/fildes.html > > > > D*mn straight, Fildes. And a fine one it is, too. > > > > > Dan Mitchell - "Remembrance" > > http://www.rit.edu/~andpph/gallery/mitchell.html > > > > This is a true masterpiece! > > > > When I first looked at this photograph, I was impressed. It is the same kind > of natural lighting of an object surrounded by a darkness that attracted > Papakotas to his submission above, and probably Spurlock to hers (discussed > below). But the contrast here is greater than the other two. The gray that > confounded my appreciation of Stempel's image works here to Mitchell's > advantage. The grey through the windows now set a somber mood whose > counterpoint is the table and flowers, both so brilliantly lit by the sun. > The chairs are mere kissed by the sunlight, giving them shape and interest. > The inner walls show detail reminiscent of an Old Masters' painting. > > > > Then I read the title: "Remembrance." > > > > I was blown away. > > > > Suddenly so much more sprang to life in the image. The flowers, of course, > take on a new, and deeper, meaning. But the cross formed by the shadows of > the flowers and the dark side of the board the vase is sitting on, as well > as the cross formed by the window frames, take on new meaning, as does the > interplay between the two shadow crosses. True, this meaning is probably > lost on non-Christians, but for there is strong emotional content for those > who have a knowledge of the Christian faith. > > > > Thanks, Mitchell. Ya done good. > > > > > > Achal Pashine - "Clouds" > > http://www.rit.edu/~andpph/gallery/pashine.html > > > > While I really want to like this image, it is just a bit too muddy on my > monitor. Enhancing the contrast would do much improve it, at least to my > eye. > > > > > > Fred van Sand - "Newburyport Bridge" > > http://www.rit.edu/~andpph/gallery/vansand.html > > > > This image does not do much for me. The vertical pole on the left just tends > to cut the left 20% of the picture out of the mind. There is no central > object. Is the subject the bridge or the boat in the middle of the river? > The bridge is the most massive, but has little interest. The boat is more > interesting, but is lost in the white building in the background. But it is > the overall fuzziness that bothers me the most. > > > > > Leslie Spurlock - "Boy at chorten" > > http://www.rit.edu/~andpph/gallery/spurlock.html > > > > This is another image that I like a lot. The Tibetan boy's head is centered > between two lines: one formed by the windows, and sloping downward and the > other formed by the candles on the counter, sloping upward to meet in the > mind, the line formed by the windows. The head then makes a triangle with > the two lines. A truly remarkable job of creating interest in the entire > scene. > > > > The lighting on the boy is good. Originally I thought this was natural > lighting, but the slightly blown out features could be from a flash (or it > just may be an artifact from compression for viewing on the Web). It doesn't > make much difference, as the image is still remarkable. A very good effort. > > > > I had no idea what a "chorten" was, so I had to Google it to find out. The > photograph created enough interest that I wanted to know. I suppose this > could be a Nepalese shot, but "chorten" is supposed to be a term used in > Tibet. Perhaps Spurlock will amplify the details. > > > > > > This was a very good week for photographs. Thanks to all who contributed, > and thanks to Andy and his staff who made it all possible. > > > > Peace and pixels, > > > > rand >
