eric_fredine

Well - I guess as a Canadian I have to say it just feels so - Canadian :). I actually like the wet 'staining' of the leaf. What do you think of cropping from the top and left side so that the two larger puddles bleed off the edge?

In some ways, I think it is the 'imperfections' that sustain the interest. The graphic structure is of course very string here - but it's fairly easy to absorb. The little imperfections are like disccoveries to be found. I like the little bits of 'gunk' on the strings (how's that for a completely thorough understanding of piano construction...).

A gripping photograph. Full of contradictions and mystery. To me she feels trapped but yet she is smiling in a sort of enigmatic way. I can only really make out one of her eyes - it makes her seem almost deformed. This would normally be considered a problem I guess, but here it just seems to add to the overall mystery and confusion. Well done.

Well - it is my current obsession - going to have to get a 'real' camera now...

I like the feel of this one Aaron. These ghostly stalks do seem to capture the spirit of the place. I'm undecided about whether I like it better with the 'spirits' on either end cropped or not...

The mix of light and shadow on the land is intersting and I like the brilliance of the patch of snow. I find the proportion of water feels a ackward - the relatively uniform texture just doesn't seem to complement the rather busy (and perhaps not quite appealing) sky. I find the blues are bordering on being a bit too neon.

I can't add much to Gary's insightful comments but I will say that I think it is quite striking and I liked the amount of negative space. Definitely worth refining.

I've looked at this one several times and I'm really not sure what to make of it. At a design level I think the washes out of out of focus colour complement the folds and shape of the hood well. The face is nicely lit and the obvious 'looking away' adds some mystery - though the eye looks pretty odd without a pupil. But ultimately, I just don't think it transcends the literal.

It's a nice lighting effect. I really enjoy cloud-watching. I think waiting and watching for a more 'symathetic' cloud formation is the way to go. The strong diagonal going from middle right to lower left doesn't really that well from a straight graphic design point of view.

It's an interesting composition that does emphasize the intense colours. I don't think it quite works though. The horizon line actually feels too busy and full of 'interesting things' to balance the relative minimalism of the rest of the composition. I get a feeling of smooth serenity from the foreground and then I encounter the 'frenetic activity' of the horizon line. This could also be seen as a positive tension I suppose, but I don't think it's working that way for me. Saturation also seems a bit over the top - but that's more of a personal preference issue.

Outstanding Frank. I'm really enjoying this one. I'm not sure I can really articulate what I like about it - I just do - and I guess that's enough :).

Thank-you Frank. I can definitely see and feel what you are after.

 

I think it might primarily come down to a more fortuitous arrangement of the flying birds - obviously something you can't control. The centre one is nearly dead centre and they are both in a line.

This would be alright Mark if you could just learn to operate your camera so you don't keep getting all those fuzzy bits - perhaps it's time for a remedial workshop for you :).

Roberto - I think there is some interesting light on the vines and the lower part of the dark sky is interesting too. I think there was potential for a more abstract rendering of just the vines and dark sky (which probably would have required you to get closer to the vines). Just a thought - may not be what you were interested in doing.

It's an impressive car. This photograph doesn't invoke much emotion in me though - it seems like the sort of photograph that is almost entirely about the subject - in this case the car.

 

I think the autumn foliage is a nice touch, though it gets undone a little by the rather boring pavement, gravel and blocks of wood. The Lone tree trunk is also a little distracting.

 

The thing that would worry me most though is that the details on the car itself are pretty blocked up in the black areas. I think it needs some sort of different treatment (directional light, selective lighting of the interior?) to bring out the best - though I'm not a commercial photographer and have never attempted cars so I can't really offer any sage advice.

Here's what I see: a high contrast treatment that brings out the back-lit texture of the water. Otherwise, the subject matter and the framing of it feels pretty pedestrian. The arrangement of the gulls is only 'sort of' interesting. The uneveness of the water texture seems more of a distraction than a benefit. I'd be interested in hearing from Frank on what he's trying to accomplish.

Yep, I though Andy Goldsworthy too. The relationship between the 'sculpture' and the tree works pretty well - though I wish there wasn't quite so much 'empty' space between them.

Sigh - a little research. Try here for a start: http://www.luminous-landscape.com/tutorials/lunar-eclipse.shtml. If your exposure was too long what you might be seeing is actually motion blur caused by the moon moving. It's a perfectly legitimate technical question, just not something I would have thought of in a 'critique' sense.

I'm not sure what your're looking for in a critique here - you want us to figure out what went wrong with the technique? To me, photos of the moon end up mostly being about technique and it didn't work here.

Umm, that should be Keith :). Guess the coffee wasn't working. I probably did it again on one of my other posts too... sorry...

I think it's pretty funny - at least when combined with the headline. If you crop from the top to remove the sky you get a more intimate scene - white skys are often (though not always) best avoided - there just kind of ugly and not that interesting (there, that's your bit of 'conventional wisdom' for the day - use it with caution). I'm also wondering what this would look like with the sign centred left to right but at about the same height vertically? And perhaps if you stepped to the right a little it would have been framed by the two trees with red berries (mountain ash?) which might give you a stronger colour harmony with the red and white in the sign?

There is some drama associated with the presence of a shaft of light on a cloudy day and the colour palette is pleasing enough (though perhaps a bit too saturated and 'overdone' for my tastes). But otherwise, I have to agree with what Kevins says.

The water flowing around the stones is effective in creating a strong sense of forward motion in to the photograph. Placing these lines on a diagonal also creates a nice diagonal that is complemented by the diagonals of the surf line, the clouds and the headland. The colour palette is very inviting. If possible, I'd prefer to see the bright sky toned down with a little detail and I wonder about giving the stone in the lower left a little more space, though I'm not sure this would really be any better.

I like the cotton candy, wispy feeling of the reeds. The large black 'hole' on the left side has a completely different feeling from the rest of the scene and carries a lot of visual weight because of it - I'm wondering why you chose to include it?

Very creative use of light - seems like something Laszlo Moholy-Nagy would have been proud of!