jonathon

Good to see you're back and posting (and looking better than ever of course!). I think you could have done something a bit more with this pose, it doesn't really say much to me, and I'm not crazy about the cropped wrist, but very nice tones.

I think it is a great idea, but the background is distracting. It needs to be a very clean flat white in order to contrast with the fabric. Also the lighting is a bit flat, maybe some stronger side lighting to create more shadow in the fabric? What sort of fabric is it, cotton, plastic?

This is really superb. The lighting takes the emphasis off the face to de-personalise the shot, but shows the body in an incredibly sexy way. Fantastic.

This is where weddings and fashion meet, you should be proud of this. Nice lighting to get good separation between the dress and the dark ground. Good work with the sky exposure, and nice shadows on the chest and top of legs. Very well done.

I shot this after I noticed that a famous Australian photographer had

produced a very nice work near where I live. Its very rare that 6ft

or bigger surf enters the harbour and makes a nice shot with the city

in the background. I think I might go down again tomorrow and try to

get the wave more towards the right of the frame and less cluttered

without the boat in the background.

Not sure if this framing works?

I've cropped the top off this to give it a little more of an action

feel. It can be difficult to get exposure right with all the white in

sails and water and not underexpose everything else.

This is the bar just next to the Opera House which on a balmy warm

Friday night attracts a significant number of revellers. I thought it

would be good to try and caputre the movement of the people

socialising with the stillness of the water and bridge in the

background, but even over a 30 sec exposure, people don't move much

while drinking...

Does a star filter add to this style of night photo or detract? I've

only used star filters at weddings before and thought this might be

one of the only scenes with points of light which would show the

effect.

I overexposed the highlights of this shot in order to bring up the

reflections on the water, and I was surprised how saturated they

become with the long exposure times.

I guess a nice foreground object like a seagull would have helped

this, but I couldn't coax any into frame...

Shot this in 4 sections and stitched, pity it was such a grey day. I

was hoping the fencing kind of added to the industrial feel.

This is one of those little surprises you get when you go through the

CF card at the end of a shoot. I had intended a nice sharp image.

Contributing factors must have been slow shutter speed, use of fill

flash, I might have panned as well. I think it conveys the frenetic

pace of play these kids were in, do you agree?

This is a product shot of sorts, just not shot in a studio. After

adjusting contrast and exposure, and a quick crop, this has become

the customer's hero shot to email to potential customers. It was a

very bright day and trying to get both the dark blue hull and white

topsides to hold detail was much harder than I had thought. I blew a

lot of highlights because in the bright sun its not possible to

actually see the LCD histogram, even with your hand shielding it.

This was one of those times I wish I'd had a step ladder to get a

view looking down more over the boards and skis that competitors had

left on the beach behind the marshalling area.

The most iconic lifesaving devices in Australia are the reel and

surfboat. This was the last wave of an 8ft set, and barrelling down

the face, the sweep slewed the boat and they were in trouble from

then on. Expecially once he lost their rudder with the jetski patrol

looking on with interest. This was the peak of the action, boat

filled with water, and the sweep looking like he's about to get hit

on the head...

After you've raced 10 other teams from the shore out around a can

half a mile out and back again in the surf, someone's gotta get out

and run up the beach to the finish line.

Had a shoot earlier today for a promotion and this turned out to be

the client's hero shot for the digital files we've showed them so

far. The customer thinks that potential boat owners will criticise

the amount of spray at the sides, but I think it adds to the feeling

of horsepower.

Trying to figure out which side to shoot yachts from only gives you a

few choices. From in front gets a good view of the hull, but if

downwind you see no people, and upwind you only see those on the

rail. From the stern you see the human factor, but it can get a bit

monotonous so I thought I'd try a waterline shot under the boom. Any

good?

this is my first series of black and white landscapes, trying to

figure out what works and what needs colour to get some 'wow' factor.

I think B&W needs stronger simple lines, and the colour in this was

only subtle anyway with the grays and whiteness of the snow.

This was one of my images from my last NYC visit, and tries to convey

how an outsider feels each time they go there. The density of

building has a striking impact on travellers and is perhaps what

you're in awe of each time you first start wandering around town,

being down the bottom of canyons, especially around sunset.

I think maybe I should have used a longer lens, and I cropped the

image but even then I'm not sure I got it right. Maybe a bit too much

nothingness on the right of the fisherman?

What do you do with a landmark that's had maybe millions of

photographs of it taken?

I took this bobbing around on a boat with the 20d at ISO 1600 at

1/40th, using my 50mm f1.4 at f1.6. I didn't want to shoot wide open

because the colours wash out each click up to about f2.8, but

considering how many unsteady shots I got I should have gone f1.4 and

ISO 3200 and maybe bought some noise reduction software.

I shot this with the idea of making it a B&W because the colours were

quite flat yet the forms were fairly strong, or is it too busy?