Some thoughts:
Robert G. Earnest - BMW
I'm out of my depth with this sort of work. I do appreciate the
white on white problems, and the skills of getting reflections just
so, but it's not as though I'm some kind of knowledgeable connoisseur
of this set of techniques. So about all I can really say is that the
image doesn't excite me, or make me want one. Maybe it's just too
deliberate.
Jim Snarski - Art Nouveau
I feel like the palette is too monochromatic for my taste. A wash
of spring greens behind the wings seems more attractive to me. I
realize we can't control these things very often but I wish that twig
behind the fly weren't there and I wish the head were sharp.
Per Ofverbeck - iris throat
It might be a walking iris, they only bloom for one day. I like the
glow behind the flower's base, but I want more light in front.
Rene M Hales - Chimayo Courtyard
Well managed assemblage, but I can't reconcile the spirit of the two
parts - skeleton and patternd glass.
Linda Buttstead - beach in fog
This situation has so many possible solutions and I never quite know
which one to choose.
What element to use to frame? The seaweed? The waterline? The trees?
How far to get from the picnic table? Far enough to make it an
afterthought? Far enough to drown the viewer in sand?
What sort of light and how much contrast to express which mood? How
much yellow?
How low or high the viewpoint? Down on the beach? Standing height?
Shooting downwards?
Whatever, over the years I've concluded that there has to be
something more/else to make the situation work as a photograph.
Herschel Mair - Yellow spot
What a scream! Herschel, I love your observing skills. A silly
off-the-cuff grab shot but what the hell, why not!
Russ Baker - smoking man
Just a little tiny bit more light on the guy's right cheek and I'd be
happy. That nose really messes up the mood for me. Having it in
profile is the problem, undermines the whole period gangster look,
for me.
Emily L. Ferguson - MIT
Foregrounds are really tricky with this sort of thing. If one leaves
stuff, like another person, in the foreground, the shot's no longer
about the building. If one puts moving people in the foreground, the
shot's no longer just about the building. If one leaves great masses
of granite stairs there, the shot becomes about the stairs. I was
hoping to balance the stairs with the sky and have the building be
the subject.
Bob Sull - Vacation Home - Needs Work
Well, yes. This is very soft on my LCD monitor. Musta been a grab shot.
Howard Leigh - Mixed Tandoori
And this one is soft, too, but a much more difficult situation to
grab a shot and have it be sharp. Besides it makes me hungry! Sadly
there's nowhere I can find Indian food in my seaside resort town...
So I'll settle for enjoying this instead.
Thanks to all, and to our amazing Andy who carries on in the face of
an incredible assault on his poor bod. For those of you who haven't
had any experience with what Andy's been going through, there's a
very illuminating article in this month's Harper's.
--
Emily L. Ferguson
mailto:elf@xxxxxxxxxxxxxxxxxx
508-563-6822
New England landscapes, wooden boats and races
http://www.landsedgephoto.com
http://e-and-s.instaproofs.com/
