duncan_trebilcock

Emma,

 

An Alternative approach to Photoshop - You could have used a larger apperture to render the people in the background more out of focus, which would also give greater prominence to the subject.

 

With regard to the cut off coconut, why not try cropping closer and see what you get.

 

Regards

D.T.

Paolo,

 

Nice picture - could I ask what developer you used, and how much you cropped the frame?

 

Thanks

D.T.

Enrique,

 

I like this picture, the lighting is beatiful. The only things I would change is the lamp in the background - perhaps dodge a little, and also perhaps selectively blur it a little to create the impression it is further behind the subject.

 

There is a tiny reflection top left which could be cloned out, and I would crop just a little off the left side.

 

nice work.

 

D.T.

Pepe,

 

this picture entices me to interpret what I am looking at, but defies me. I't has captured my attention and made me attempt to think about the unusual in what I can only assume is the relatively commonplace.

 

Your feilds of colour and tone are as elegant as ever.

 

Regards

 

 

Comments would be most welcome.

Ciprian,

 

I have sailed on the Ijsselmeer, while staying around Purmerend and Edam in the late seventies - some of these images evoke fond memories. I had almost fotgotten.

my ambivalence surrounding photographs of the works of others revolves

around whether I have added an individual creative element to the

work. I feel that I have since the image is about the moment - the

wind, the light, the angle. do you agree? what would you change.

I would be very grateful if anyone who has experience of wildlife photography, could have a look at this and a couple of other seal photos in the same folder. This was an unplanned opportunity, and I had a couple of rolls of nasty film, with the sole purpose of getting a feel for a new lens, and no particular plan to do anything important - dull colour, coarse grain. I would have liked to have got in closer, but this was about as close as i was prepared to go. A 400mm lense would have been ideal, but I don't have one, and won't anytime soon. (please note that each of these images is about a quarter of the neg, not full frame). My own observations are that the light is a bit harsh, bright overcast would have suited my tastes better, and I would have shot provia 400 if I was planning for a shoot like this. Any feedback from those of you with experience of wildlife photography, on how I have approached the subject, and how I could improve would be very much appreciated.

comments appreciated

Comments and ratings welcome.

Stan,

I'm sure that it would be tecnically possible for the truck to be sharper, but would that add to the dynamics of the scene.

 

If the truck were too perfectly sharp, it may look like a merry-go-round horse. The impact is in the relative motion between subject and background, which you have captured.

 

The slight blur in my opinion only serves to heighten the sense of urgency.

 

Regards,

Comments and ratings appreciated.

Comments and ratings appreciated

Carl,

 

This image grabs me more than your most recent critique request. I've pondered this one a couple of times, without any firm conclusions, and not sure I have any now, but I keep coming back to it, so I'll try to explain what captures my attention.

 

Fistly the simplicity of the composition of elements works for me most strongly in this one. secondly I am drawn to the reflection refering to an undefined space outside the frame.

 

The red section though is the most interesting area I find. I cannot quite make a form of this surface - the change of textures is somewhat elusive, but the transition from textured to smooth is intriguing. FWIW this is how I responded.

 

regards

 

Howard,

 

My first impression is to disbelieve the colour of the grass. Im not saying this is not a colour faithfull rendition of what you saw, because I wasn't there, but the chemical green seems to me an interesting way of rendering an image which clearly speaks of man and the landscape. was this what you intended?

 

regards

reflections on water are a constant source of interst to me, but what interests me most about this, is the way the reflections seem to begin to coverge on a recognisable, or half recognisable image of some imagined building or lit structure, but you do not show it to us. If this were my photo, I would mount this on a board, without a mat or a frame. It is refreshing to be led out of the image into the void of imagination. In this way you demand more of the viewer which is more satisfying than being given the whole plot in easily digestible chunks.

Alexey,

 

There are a lot of photos in this vein, an so many seem to combine the "right" elements, but have no movement, or destination within the image. This one does, and is effective for it. The cable and the iron hanger for the lamp provide a linear link to the lamp itself, which is obvious, but I think the patch of plaster converging at the top left also seems to contibute to an overall balance.

 

simple and pleasing

A powerfull composition.

 

I think the shadow in the lower left is essential. This to me integrates the image. My first instinct would have been to crop out the upper left shadow, but I Looked at the picture with a piece of paper to block this out, and I think I was wrong. This elements draws you along the yellow tube, and I think is part of the tension of the image. I don't think there should be a staic point at which the eye rests.

Barry,

 

A few thoughts on how I would try to approch this.

 

Firstly, You are giving prominence in the image to a swath of very brightly coloured sweat shirt. To me, this absolutely dominates the image, and althought this is a matter of taste, the colour fights with the ambience of a machine shop.(B+W maybe?)

 

Assuming you are trying to study the lighting, the forms of a machine, and the craftsman at work, These elements ought, depending on your sensibilities, to be arranged in such a way that there is a clear subject that draws the eye.

 

Think about, but do not be ruled by the arrangement of interest about the intersection of thirds in the image. A good starting point, although great compositions do often break the "rules".

 

things you could try, are getting closer to the machinist, to draw us into his concentration. You could arrange the view, and the subject to include more of the tool holder and tailstock, perhaps placing them between you and the machinist. Play around the light, and see if you can reflect it off anything, get an intersting silhoutte, etc.

 

How about (with a eye on safety foremost) have the lathe running - Swarf, coolant,...gorgeous!

 

Please don't think I am telling how to take pictures, but these are the things I would think about if I were attempting it.

 

Regards

Any comments or ratings appreciated

The smoothness of the landscape is unusual and intriguing - I'm used to rugged. It has for me a slightly "other wordly" quality.

 

My only nit pick would be to see a little more in the shadow at the right of the picture.

A well observed opportunity.

 

It is refreshing to see a slightly unusual take on things.

 

Nicely composed, and excecuted

All comments and ratings appreciated.

Vadik,

 

My instinct would be to crop the reed on the far right of the image right out. The way you have allowed the middle reed to almost touch the top of the frame is excellent, and the left most reed inclining towards the space at that side of the frame, gives that portion of the image a purpose.

 

I find this a very pleasing interpretation of a subtle lighting condition and subject.

 

 

Nicholas,

This is a pretty close interpretation of the "minds eye" memory that I have of the scene. The contrast was extreme, the clouds were dense in places but patchy, and the sun straight ahead at about 4PM. The impresion of the reflections of the clouds and of the clouds themselves was pretty much as you see it here, although I did tweak the curves a bit to get the ambience as I wanted it.

 

 

However, more importantly perhaps, this is not an inspired rendition of the commonplace, more a competent, and slightly interpreted description of something splendid - an afternoon of outstanding light. Getting it on film takes a LOT of legwork,persistence, and a bit of luck.

 

Thanks for the feedback and good luck with your own stuff