Herschel Mair -- Nice portrait, and while the panoramic format is a "weird choice" for a portrait, I like the way this one looks. I think I'm echoing other comments, but the bright notes on the board to the left of the head are a bit distracting; however not so much that I'd reject unheard an argument that they contributed to a less-staged look. This lighting highlights the facial wrinkles a lot, and the subject has a nice set. Lea Murphy -- Edyn getting ready for dance -- Oh, nice! Great look of concentration, and her posture and handling of the laces looks *competent*; she's done this before, knows how to do it. The shadow blanking out much of the glare on the seat back is handy, too. Warmer image tone than I usually choose, but 1) I'm an extremist on that, and 2) works well in this photo. John Palcewski -- Reflection -- Not much there for me. The camera and head and some neck becoming an undifferentiated blob doesn't help, and the angle of the "verticals". The composition creates relationship between the dried leaves on the wall and the subject (presumably you), but that relationship doesn't seem to accomplish anything. (I make no claim that there "shouldn't" be anything here for anyone else! Since I make no claim to being a critic, I can only talk about my own reactions to a work.) Jim Thyer -- Getting the Details -- I like the light, both on the sculpture and on the rest of the landscape. The woman doing the close-up photo also seems to be grinning quite cheerfully, which I think is nice. Randy Little -- Zuccotti park, NYC. -- By choosing that name you raise questions, or create tension, or something. The image doesn't look at all outdoors, and the name places it there. The lines at the top suggest relative motion, probably at night. The rectangle at lower left looks like a window (top portion, maybe on a train), while the rest don't especially. All in all, an abstraction. The white rectangles receding into the distance is nice, and their loose rather than strict patterning. I'm curious (I understand it means nothing real about the work) how much was planned and how much was coincidence / luck. Art Faul -- I like the warm band continuing past the wheel well onto the front bits. And then I like the delimited rectangle bits (blue and black; yeah, I see that the blue is embedded in the black, too) NOT being terminated at car demarcations (though of course that's kind of a natural consequence of putting a photo onto a car). And I like the space colors, and the black rectangle and harsh sun makes me think just a bit of 2001 (Kubrick's movie, more than Clarke's later book). Dan Mitchell -- London and the Thames -- I haven't been up any of the tall buildings in London; some of them, at least, weren't even there last time I was over. It is a nice view. That's a bigger ship than I'm used to seeing up the Thames that far; not sure it could actually get past Tower Bridge there. Marilyn Dalrymple -- Apollo Park, Lancaster, California -- I get really unhappy when I just *barely* clip off the edge of a reflection like that. I do like the look of the reflect foliage in the not *quite* glassy water. Sounds like it was fun to see the historic cars there. Thanks to everybody participating in the gallery this week! -- David Dyer-Bennet, dd-b@xxxxxxxx; http://dd-b.net/ Snapshots: http://dd-b.net/dd-b/SnapshotAlbum/data/ Photos: http://dd-b.net/photography/gallery/ Dragaera: http://dragaera.info Nikon DSLR photo list: http://d4scussion.com
