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Interesting. I like the mix of horizontals and verticals, the link between the fallen trees and the shadows. The light is beautiful, but combined with the slope, dangerous. If I'm not careful, a sudden flash of glare could send me tumbling. A sense of freedom with a tinge of responsibility.

Mmm... difficult. First reaction was, wow, what a foreground, but too much sky? I keep wanting to crop this square, and mirror image it, to improve the balance. Although this pushes a lot of weight to the right, it improves the influence of the distant, mist covered mountains. In the original, where they're on the middle right, they seem a bit lost amongst the activity of the stone and expanse of sky. With a crop, and reversed, they provide an intriquing background and balance out the left to right line of the stone and mountain. My eye can travel to the UFO landing pad in the middle and then decide whether it wants to step up to Adams, or down into the hazy valley...

 

...but, a square feels too cramped, and it took me a while to actually pick up on the subtle diagonal balance the clouds bring to the foreground. So maybe the orginal is the best way to go.

If I didn't know any better, I'd swear you've got a time machine stashed in your shed. This has to one of your best. Superb atmosphere, prehistoric.

 

Although at first glance, it feels barren, I think there's a certain warmth of life produced, strangely enough, by the blackness(and it's orbit of the bright gradient of fog). The sand reminds me of volcanic ash. I can imagine this being shot a few weeks after an eruption, the surface vegetation has all gone, but the fertility of the ashen soil will bring life anew.

 

In the words of the occasionally great Pearl Jam, 'Its Evolution, baby.'

Refreshing, gentle scene. The cross of logs and stone make a great subject.

 

Although, admittedly, it reminds me off chopsticks. Mmm... now I'm hungry.

I really like the atmosphere in this one, although I might tidy it up a bit. Crop the strip on the right away. Cropping a little off the top might be an idea, as well, although you could argue that the touch of blue sky gives some hope that the weather will get better. Depends on what you're trying to say. I love the sweeping curve of the beach and the way it works with the land and cliffs. The jut of land on the left with the sheep really helps balance out the dark hills. Good, stark colours.

Yeah, the best of these three, deceptively simple composition. On the left, a series of long, thin slithers of triangles leading to the vanishing point on the right. The thicker triangle produced by the verge of the field on the right seems to balance out the lefthand side. Including the distant hills really adds to the sense of location.

WOW 7/7...

 

...just kidding :-)

 

My first reaction was simmilar to Peter's... almost too many great things to look at. My first instinct was to crop out the road and mine altogether just to concentrate on that wonderful beach scene. I like how the shape of that dark jut of land near the bottom mimicks the shape of the wave its about to meet.

 

But, the whole works. Those two diagonal rows of plants down in the center take the eye naturally to the mine, then we can follow the cliff down to the beach and the Sun. If it wasn't for them, I'd be tempted to go the cropping route, but they start the journey and provide a central anchor for the overall composition.

 

Two niggles... the distortion of the horizon line on the left and the blackness of the TR corner, although the light on the stack stops the blackness from being overwhelming. These are pretty minor, though.

 

Great shot, and well worth the effort.

An uneasy, end of the world feel to it. Cropping to improve the lines may hurt that. I like how the shape of the dark treeline mimicks the slither of yellow, like a foreboding of things to come...

I must admit, being an uncultured slob, I haven't been in to some of your dance compositions, but these are really fantastic. I could go on about the numerous things I see in these shapes, but that might contaminate it for others... well, that's definitely a Whirling Dervish on the left :-)

 

Between the two... mmm. Difficult to compare because they're so different. In the second version, the rythmn is continuous, like notes on sheet music, and the shapes remind me more of a flower than people. I may prefer the first, just because the rythmn is contained within the blackness, its more internalised. Definite shades of Picasso in the 'sitting' figure on the right.

 

I'm not sure how many dancers are in this, maybe just one with ribbons? But I see a central figure, who looks female, being torn between two others. A love triangle?

This is my fav of the bunch. The opposite directions of the rails and ship(and mast) form the central subject, but are only part of the overall balance. There's a sense of danger produced by both the lean of the ship and all that empty space on the right to fall into. But the direction of the rails plus the shed(and its darker tones) act as a counterweight to the pull on the right side.

 

The contrast between the metal of the rails and wood of the planks alongside is an interesting extra.

The square format seems to work much better here than the portrait shot, and the white sky isn't really a problem, at least not with this kind of subject and style. Stormy clouds would probably be one element too much. Good conversion(and toning).

 

Feels like there should be a bit more space between the ship and wall, although I wouldn't put the ship too close the left edge.

A very interesting contrast when compared with the previous two. Almost all greys, and this softens the hook of the rock, makes the scene quite welcoming. My eye starts in the rockpools BL, then travels up past the reflection to the denser treeline on the right. Then it sweeps left past the rock(again, the greyness stops the rock from becoming a barrier and stopping the movement), and has a choice of where to leave the frame, down with the blacker seaweed/rock in the middleground, or up to the vanishing trees and that subtle pastel of colour.

Its all been said... 50/50's the way to go, floatsom's good(but so is the just visible submerged branch BL curving towards it).

The desat versions of these work much better... better suits the atmosphere.

Is the location Precinct 13? :-)

 

Ambiguous. A wall, or parking lot on its side. Those markings look a little like containers in morgues. Alien hibernation chambers built into the very fabric of our lives. Expecting Leica glow to light up lines and release horde. No worries, Tom Cruise will tell us when the shields are down.

I'm not a fan of over-gardening these shots, makes them too fake and studio like, so the stray blades don't bother me too much. Strangely enough, this feels both natural and a little like a Still-Life. Maybe its the stone, or the framing of the mushrooms by the curved leaves on the right, and the background space on the left really opens this up.

I love the alternating layers of clarity and mistiness in this one. The little waterfall on the middleright edge works well with the dark line bottom left. The stone BR is an interesting touch, although maybe slightly awkwardly cropped. Just feels a little cut-off.

 

The infered direction suggested by the three foreground rocks(and the downward sloping ramp from the right) takes my eye into the depths of the mist and up the sheer wall over onto the plateau. Its like a miniature expedition into the Lost World.

Great atmosphere, interesting use of tonal areas and tangled spaces.

Soft, simple, serene.

I kind of like the mood, as well, but guess I'd have to see the lighter version to decide whether it would really be an improvement.

 

For me the darkness of the foreground is balanced out by one thing. The misty signs of life clinging onto the background through decades of storms. Its a primative, foreboding landscape, but the soft silhouettes of the trees offer hope to the traveller washed up on cold shores. So the blackness works.

 

Or something like that...

I'm not sure I want to see the whole of the reflection. Like Carsten, I'm reading this right to left. After my eye is done with the jagged peak, it passes down to the dark foreground reflection and then on up between the two rocks to the rounded distant peak. If the reflection was visible, it might hook up the eye and prevent it from moving on.

 

Love the atmosphere in these...

Great composition, the ripples of sand within the water, the branch, etc etc. Very well balanced, and the Argos truck is a funny touch for such a bleak image.

 

Not so keen on the PS work. The clouds are breaking down and the contrast difference with the truck makes it look pasted on.

 

But a good idea, nevertheless, and an interesting picture. Welcome to PN...

Great perspective effect and a wonderful view. The two stripes of white and the bright ridges in the distance really add to the composition and frame the couple. If I didn't know where they were, I could guess from the chalk foreground, which looks a little like a horse itself... or a giraffe.

I'll be the odd one out then and say I like the seaweed precisely because it contrasts with the smoothness of the water and sand. At least the two bits right at the front do. The ones behind it are arranged in a line that creates a rythmn all its own. A different kind of smoothness. The slight diagonal line of the rock edge is jagged, but smoothed by the blurred water. So there are two intersecting(in direction, at least) lines made up of jagged elements, but producing an overall smooth effect.

 

I may not have explained that very well, but its what I'm seeing in this composition. And I like it.

Probably a ripoff of that great Scottish delicacy, the deep fried Mars Bar...

 

The flags make it all fun, though. I wonder how many people in years to come will have those flags as their last sight on earth, as they clutch at their chests on the concrete after a few too many battered grease goodies? O.K., now I'm just depressed...