eric_fredine

I'm for keeping the tree - even though its quite small in the frame I think it adds something important - perhaps even strangely complementary to window on a window.

 

Of course, it depends on what you're trying to accomplish. The 'intruding tree' doesn't work if you place this image alongside a whole bunch of more pure abstracted reflections. It would work if you included it with other images where little bits of 'recognizeable objects' were snuck in to the image.

I think the trees add a lot to this image. The 'window within a window' thing is fascinating on its own but by itself I think it would be one of those photos that you could take in very quickly but then there isn't much left to explore. (And I realize that in some sense this is the very definition of 'high impact' and would likely be more popular.) The colours of the wall and the reflected wall also work very well together. But the tree adds so much: it make the sense of place much stronger by giving the photograph a third dimension and the organic shape of the tree contrasts well with the more rigid lines on the wall.

You've got my vote. I'm outraged that you havne't been recognized yet.

Much better David - though the blend is still problematic. As I said, this is a tough one!

 

A quick recipe for creating a mask from a channel. Look at the channels and pick that is whitest in the areas you want to show through and darkest in the ares you want to block. You can load this channel as a selection by CTRL-clicking on it (on a PC). You can then turn this selection in to a mask for a layer (either one of the image layers or an adjustment layer). You can then modify this mask in a number of ways: a levels adjustment can be used to drive parts of the mask to white or black; and applying some level of gaussian blur is often necessary (though in a sharp transition like this that will likely result in a halo). You can 'fine-tune' the mask by painting on it.

 

Cheers,

Eric

Lovely David - a fine mix of textures and colours. I personally like the balance better with all the sky included.

I'm enjoying these long, skinny verticals Jeff. This composition feels slightly off balance to me. The foreground lines are weighted to the left, but the trees seem quite symmetrical and centred and the clouds are also weighted to the left. If possible, a placement of the trees more to the right might have addressed this.

This is lovely Jeff - such a look of innocence. I think a little off the top is the way to go.

The important stuff first - the idea of the photograph is strong. I like the feeling of 'rising layers' of different textures. And I always love a dramatic sky.

 

There are some technical issues though. First off, are you sure you have the two images properly registered with each other? Are you using a tripod? In addition to the halo, they look 'out of alignment' with each other.

 

Second, this is the most difficult type of blend to perform - you have a very sharp transition between light and dark. Are you using Photoshop? In a situation like this I usually start by using one of the channels as a basis for the mask - I'll elaborate if you like.

 

Cheers,

Eric

It's a well constructured composition and a striking vista but I am troubled by the colours overall (they just look odd to me) and the bright overexposed sky (though this may just be my issue :)).

 

Cheers,

Eric

I think this works well Jeff. I think I appreciate it because I've attempted similar photographs myself and haven't succeeded. I think one of things that makes this work is the tension between the two groups of rocks. The far ones lend a sense of depth and mystery. I also think the highlights in the lower left are a nice touch.

 

If you'd just get the NPS thing sorted out you could also do away with the blocked up shadows which while not egregious here, aren't helping the ephemeral mood any.

You can almost feel the fun. The arms of your brother and the strategically placed fingers of the friend also make a fortuitous compositional structure! Great timing.

This really resonates with me. Very powerful.

 

I find the fring of darker ice on the bottom a bit awkward so I'd consider cropping it.

Both of these bale shots are quite striking Aaron. You have low-angled, directional light and a dramatic sky - what's not to love? There is something that really resonates with people about photographs of bales - they are perenial favourites. I think you've proved you can do a great bale shot - now you can move on to more challenging subject matter :).

 

Cheers,

Eric

Leigh - I probably prefer the more symmetric and balanced composition of the previous one, but this is also a great arrangement and one that I might grow to prefer. But I greatly prefer the colour and tonality here - it seems much more 'credible' to me and I think it is still strikingly beautiful. The real world is in fact a beautiful place and doesn't need any chemical help!

Nicely done, the colour, tonality and placement of the elements all work together to support a timeless and exotic mood.

 

I think the bottle is actually a positive element rather than a distraction. It saves the photograph from becoming too sentimental and overly romanticized (running quite contrary to the prevailing currents on photo.net I might add).

 

In terms of graphic structure I think the tray of bread is nicely balanced by the angled pieces of wood both of which conspire (along with a number of other subtle featues in the two upper corners) to pull attention in to the black hole where one discovers the nicely lit baker.

It has that 'minature' effect that I've come to love. It seems majestic despite its pedestrian location.

You're an astonishing and prolific photographer Saul.

 

I find this one challenging - it's chaotic and full of mergers - something I've often thought about but never quite had the courage to explore.

 

With a bit of patient viewing, it starts to manifest itself a more emotionally. I feel barricaded from something - though I'm not sure what or why.

A dramatic and expansive scene. I like the restrained colour pallete but I definitely think this could use some more contrast - especially in the foreground shadow areas which seem flat.

The intent seems pretty clear here Carl. I like the way the plants and aging seem to be creeping around the window. Still, this theme has been worked pretty extensively and I think it would be hard to find something really new to say about it.

 

I personally prefer the colour version but I think it works well enough in B&W too.

 

Cheers,

Eric

I guess it must not thumb well or something - this is a truly engaging photograph. The lines on the gum tree seem especially mesmerizing - the broken rocks frame the bottom beautifully and the mist adds a delicate mood.

I really like this one Carl. While your carefully planned compositional approach is still apparent it has an 'unbalanced' feel that makes it feel very natural, real and spontaneous. Good work.

Really great shot Andrew.

Aaron - This one is actually from the trusty 1Ds. Cheers, Eric

Love this one Aaron. Colours a bit wierd maybe (I see this has been discussed), but the 'bones' are great.

...have your way with this one...