Thank you to those who commented on my photograph, Still Life in Red. Your
comments have encouraged me to try more like this using different colors.
I'll get my reviews written ASAP.
Take Care, All,
Marilyn
----- Original Message -----
From: "John Palcewski" <palcewski@xxxxxxxxx>
To: "List for Photo/Imaging Educators - Professionals - Students"
<photoforum@xxxxxxxxxxxxxxxxxx>
Sent: Monday, May 17, 2010 3:34 AM
Subject: Re: PF members exhibit on May 16, 200
Lea Murphy - This is an effective coming together of contrast,
repetition, texture. Interesting that the vignetting in the
full-sized version isn't as noticable as it is in the thumbnail, which
is good because if you notice such an effect it's distracting. The
circles in the railing are a nice counterpoint to the sharp angles of
the steps.
Jim Davis - Yellow Trees I think this is an instance where the real
thing is vastly more moving than a photographic image can be, unless
it's in a large format, like, say, 8 x 10, and even then it's only an
approximation. I have a lot of senics taken on my travels through
England and Italy that I enjoy looking at because they remind me of
what I saw and how I felt about it.
Trevor Cunningham - plants taller than i (cont.) This is a pleasing
image, but I'll wager that the plant is not taller than the author,
unless he means it metaphorically! I like the bluish tint, and the
meticulous detail.
Dan Mitchell - Tree The sepia tone suggests an image taken a long
time ago, but then the immediately recognizable Polaroid format says
it's contemporary. This is a sort of dissonance that works against an
appreciation of the subject, at least for me.
Marilyn Dalrymple - Still Life in Red I've always been drawn to and
love Caravaggio's tenebrism, a heightened chiaroscuro, and this takes
me right back to it. Colors surrounded by darkness become deeper,
richer, more evocative. Beautiful work.
Emily L. Ferguson - To the Beach - brrr This is an inviting and
pleasant scene, although the green on the trees don't suggest cold in
any way. I'd crop off some of the top, and also would crop out the
step in the foreground, which would eliminate unnecessary distraction.
Michael Hughes - Warm-up In my view there are three major problems
with this composition. One is that the point of interest, the
conductor, is out of focus. Another is that too much of the audience
is showing. I'd move in closer. And finally it's about a stop or two
overexposed. Next time I'd try putting the camera on a tripod and
turning off the flash, and taking a lot of shots. You might get a
blur on the conductor's arm and baton, which would heighten the sense
of energy and movement such a scene elicits.
David Small - Interesting, nicely done. The only improvement I can
think of is that the model might have squatted down a bit, which would
have put a crook in his right arm, which would nicely break up the
rather static straight line of his two extended arms.
Mark Harris - Valya Shadowed I'm not particularly drawn to this
image. Others may be.
