It's actually looking up at about a 45 degree angle. The blue and red rings were on the ceiling. I've received a recommendation to crop out the upper third, your opinion?
"Emily L. Ferguson" <elf@xxxxxxxx> wrote:
"Emily L. Ferguson" <elf@xxxxxxxx> wrote:
At 8:18 AM -0500 2/28/04, ADavidhazy wrote:
>The PhotoForum members' gallery/exhibit space was updated 28 Feb. 04. Authors
>with work now on display at http://www.rit.edu/~andpph/gallery.html include:
>
> Don Roberts - Guardians
A little too much sky, and maybe take out the far left statue and cut
some off the bottom. Wonderful concept.
> Jim Davis - Reed Bunting
Hmm. Why the sepia? I think if you're going to sepia you should
take out most of the info to the right and a lot from the bottom as
well. Really like the sharpness and clarity.
> John Mason - Stage Door
Love the concept but what's that strange gray area between the nose
and fiddle scroll? Seems like maybe you took something out with the
clone stamp but then didn't replace it with something logical to the
scene.
> Trevor Cunningham - Terran Tissue Arrangement A
Interesting and has the capacity to become lovely, but I can't tell
whether you're shooting across at a vertical area or down at a
horizontal area or along a sloped area. Assumptions are always
curious. the other week I submitted a pic of the sand lines that the
receding tide leaves on the beach and I don't think anyone was
confused about which way it was being looked at (down). We assume
that if it's a beach it's not overhead or rising sheerly.
But do we know for certain about that?
This is a similar situation. Except that I don't have the background
to decipher the orientation and would like some clue in the image.
> Amy West - Poker
How tied we get to captions. I suppose I'd eliminate a lot of the
black on the right, top and bottom. And somehow the darkness of the
overall image and the lack of general sharpness makes either for a
point of view or an impression of its being a snapshot.
> Christopher Strevens - Train to London
Too much info on the left, needs to be vertical, deemphasize sky,
increase contrast, use tiny aperture to get sunstar effect with train
headlamps.
> WRGill - Point Lobos State Reserve, Carmel, CA
Surf blown out badly, too much trees all around, make panoramic, very
cyan, use 1 or 2 stop grad to tame surf and bring up sky, wait for
end of day to get something along the horizon.
> Per Ofverbeck - Wheel
Not sure why the wheel is in the lower-ish left corner. It would be
interesting to see this shot straight on the axel with somewhat fewer
barnboards on the right, but without the wheel being centered in the
frame. It would be nice to have some slightly more intense
highlights somewhere.
> Achal Pashine - Afterglow, Mono Lake, CA
Too late after the sun went down. Not enough sky action. One takes
what one can get when one doesn't live there.....
--
Emily L. Ferguson
mailto:elf@xxxxxxxx
508-563-6822
New England landscapes, wooden boats and races, press photography
http://www.vsu.cape.com/~elf/
"The optimist believes this is the best of all possible worlds.
The pessimist fears it's true" - J Robert Oppenheimer
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