Sandeha Lynch

I know I would consider tightening the crop on the top and the right side to make the wet sand central, and trying a BW version as well, but even as is it's an eyecatcher.

A really strange piece of the world. Great shot.

While driving home yesterday I was struck by the sight of a large flock of birds at high altitude heading south for the winter ... this holds that same feeling for me.

The horizontal color close-up struck me as a little busy, but with the main focal point further away the composition here works better. I especially like the way you've used the foreground to set the scene. It must have been quite a sight.

Superb composition. I like the weight and balance of it.

(Is that a gorilla?)

With the shadow at frame edge the whole subject is lifted up and out of the picture space, and that gives it life, but it's the spoon that does it for me ... you been looking at 17th century Italian or Dutch still life paintings by any chance?

This really brings a smile, Amar. The bird seems to be questioning why you have disturbed it's own solitary meditations.

Hi Ann ... It happens a lot and there have been many threads on the topic in Pnet. However, you can often assume that anyone who rates so low and doesn't comment has nothing worth saying.

Good use of DOF here.

This looks like one of Manzu's pieces. Is it? You've selected to focus on a number of interesting sculptures and interesting viewpoints on them, but background/source info would add a further layer of interest!

It's funny when buildings show an expressive 'face'. This is well taken.

Admirable for its compositional balance!

Strong and thoughtful images, Piero. (I thought it was a sewing machine at first glance ... mysterious!)

That's interesting, Fred, because I didn't think that channels could be that subtle. The Pepperpot (and thanks for your comment there) was a PS duotone.

A very sensual take. I assume the color is added? Is it a filter or a duotone? Or am I wrong on that?

A beautiful image, but I agree with Stephane. Perhaps the spine needs dodging a little.

I figured that blob couldn't have been an oversight, Carl, but yes, it is a major distraction.

A question that I pose for myself is whether I'm recording a moment or making a picture. Gut feeling tells me that as a philosophical question, it is a question that is better left unresolved so that ambiguity always remains a feature of human/creative input - a kind of 'rock and hard place' type stimulus. But at a practical level in image making, how differently would you prioritise color and tone over form? Change the color and the form disappears into the surface it rests on, just as burning or dodging items changes the ratio of profile and focus. To me, it seems equally justifiable to introduce a 'flaw' (tone, color, or form) as to remove one except in the (exceptional) case of a strict record shot.

Ah, OK, that helps. The dampers may be the focal point of the image, but they bother me a bit. They are bright, yet too bright; should the other parts be closer in tone for the sake of the overall composition? Are they too bright for the richness and depth of the rest.

I'm also tantalised by that plate; not enough, or too much in the frame. My crop doesn't answer your question (perhaps indirectly) but it makes more sense to me not to see what lies behind the pins.

That's easy to follow Colin, thanks. That's pretty much the way I've superimposed for graphic work in the past, but I've never done it photo-to-photo. In fact, I'd never thought of doing it, but the technique would certainly lend itself to the sunlight in the woodland hereabouts.

Very neat shot. I see it's Velvia, but I'm wondering what grain can go that red!

Gonna be difficult ... the only thingie's name I know is 'strings', and perhaps 'pegs' and 'screws' though they may not be the right technical names. The big main-frame thing (a sand-casting in brass?) looks like an interesting object in its own right, but what are the bright rectangles, dampers?

Colin, I wouldn't have guessed that kind of technique here. Do you just superimpose one on the other, or use masks or layers? It could come in handy with the winter sun ...

 

Certainly strong enough as a composition to hold its own in BW, but I found Behel's flip disconcerting!

Exquisite shot, Haleh.

It IS funny. Reminds me of a recent Canon ad. where some guy is taking a shot of a sunset which is actually behind him.

Very painterly, Olga, and amusing too. Cropped and tilted just so, I'd guess they're discussing where to go next ...