The PhotoForum members' gallery/exhibit space was updated 11 Oct. 03. Work/Play on display at http://www.rit.edu/~andpph/gallery.html includes: Greg Fraser - Coaster A touch of "anything you can do ...". A fairground scene, shown in B&W. Crisp and clear. Contrast hadled well. Love the gradation of tones L-R in the sky. One little rollercoaster car: Would it have been better 1/2 sec later with the car above the horizontal white member ? Good use of space, lines and all the usual guff. Good image Carney. Shawna Hanel - Concern Unuasual choice of subject and even odder choice of DOF. As a subject it's perfectly valid: something to think about. Why though such shallow depth of field? It's not working for me with the out of focus bits streaming towards the camera. I reckon it would have worked better had the wind been the other way. Don't understand the title mind you ... Sorry: interesting but could be better. If the trash is still up there try again with the aperture shut down. Fletcher Jernigan - Geometry As a thumbnail I thought this looked like it would be truly stunning: a simple graphical arrangement: high-key (like haiku?) Opened up however I was a little dissappointed with the technical quality. I feel I should be able to resolve fine detail on the yellow balls but they seem to be OOF of the front face. Or was it motion blur. Sorry Fletcher: this show was so nearly stunning. Great idea, great vision but the lack of sharpness is not helping me to really enjoy it. Dan Mitchell - Ascent Another one that looked to be a stunning thumbnail. Opened up it's still a good image: graphically. The blown out highlights (guess no choice to get detail on the bannister rails) mar it. It's well seen and well composed but I keep looking at wondering which way up I'd have presented it. I keep feeling I'm falling backwards ;o) John Warner - Morning, between E. Harding and Cocking This was a pretty dull thumbnail but the picture was a pleasant surprise. I like the transition from dark foreground, along the lane and out into the mist. A sombre scene. Maybe too much foreground though: I'd be tempted to crop it square from the base. Think it makes a much more balanced picture that way. Good shot. Alan Zinn - "Mama" by Louise Bourgeois Photographs of other artist's work - two of them this week. I always, instinctively, ask "what did the photographer add?". I don't know on this one: OK, it's well placed in the frame. The bit that leaves me cold is the central "leg" where it gets lost amongst the trees. I want to see contrast there - by tone or bokeh? Oh, maybe cropping off the tree-line (another square format?) removes what I see as a flaw. Yes, I prefer it that way. Scott Thurmond - Keeper of the Door Second example. In this Scott has used the juxtaposition of the statue and red door to good effect. It's a bit of a narrow (literally) feel for me though. I'd be tempted to cheat in PS and widen it by 10-20% relative to the height: Scott might feel that was missing the point completely but there you go. It would have been a very different picture with the head to the left of the door looking across it: as it is looking out of the picture it creates a little bit of interesting tension. Bob Talbot - Cantona Oo Ah .... That quote ... "When seagulls follow the trawler, it is because they think that sardines will be thrown into the sea." http://www.phespirit.info/pictures/heroes/p007_info.htm Thanks to the lot of you: loved the visit. Didn't mean to offend with the comments but if I did ... Bob
