beau 1664876222

just a little snap from the slopes

just messing around with a Russian medium-format lens.

?

Comments welcome.

Great.

doll...

David, the jersey was in fact an odd sort of burnt-orange color, not red. To clarify what I wrote earlier, I did do a color balance in the traditional sense, i.e. make it look like the actual scene. What I didn't do was an "auto-color" type of operation, i.e. to re-imagine the scene as if lit by neutral-white lamps.

Excellent stuff, very imaginative.

These days my photo opportunities only tend to come when I'm

between shifts in my hockey games. This is an outdoor rink in north

Manhattan where it can get pretty foggy, and on this particular night it

looked so cool I actually skated out during the warmup with my camera

and snapped a few from the ice. I didn't white-balance on purpose, this

is more how it looked.

I play ice hockey whenever I can, even if it's at 4am. It's an addiction.

So I don't get as much time to take photos these days. I figured, might

as well keep a camera on the bench and snap a few between shifts...

There was a fireworks display that these people had gathered to watch; that's where the smoke and light is coming from. I tried to time it so that an explosion or two would act like a flash to illuminate the scene while the shutter was open.

Dan, I tried to process the color so it would look like that, kind of old-timey in a non-specific way. Somehow the July 4 concept demands a throwback type of treatment in my mind. Also, I wanted the red-white-blue theme to come through, so I tried to draw attention to the color in general. Thanks

comments appreciated

seaside shower

from last summer -- I'm really falling behind on my processing!

The composition and body language are good, and the heavy stylization makes it eye-catching. For an image like this, however, I think the dodging manipulation is overdone. I realize this is a fashionable style these days, the photoshop simulation of a dappled, reflected, horizontal light. But when it's pushed to this degree, the viewer no longer can perceive what the light actually was doing to the subject at the time, and the absence of this actuality robs the medium of its primary power.

This has it all. Great work.

Hey, it's great to see Ray recognized here. This image is really a treasure; as someone said, it feels like a classic of the NY street genre, even the first time you view it.

 

Umbrellas have such a presence, and this one is so three-dimensional and textured, like a big black jellyfish.

 

I love this image and that's why a print of it is on my wall! Congratulations, Ray.

Great to see Ian recognized in this space once again -- truly, nobody does it better.

 

For me, all the power of this image is in the curious way the child's arm coils around the bottle. It conveys a sort of protective anxiety that makes him seem so heartbreakingly vulnerable.

This is really magic. It's chaotic and full of contrasting elements, and yet everything just works perfectly.

Really excellent stuff, sorrowful and mysterious.

Sorry if this posts twice, it didn't seem to show up when I posted it before...

Great stuff. I love the way the tangles of dark branches seem to reach up like fuzzy tentacles from below. Also, the repetition of that parabolic shape throughout the frame is compositionally really strong.

 

From someone who's trying to get the hang of making square pictures, your whole portfolio provides a great lesson - Thanks!

Dana, I think it was a baby monkey. I saw them down by the river. The two of them live on a little boat together, traveling around the world. They were just stopping in to have a look at New York that day.

Magnificent.