george peterson

Yes Jacques I see what you see ...and thank you for your illustration.

Mr Root I take it that your point is that I should post smaller files.

Mr Kelly I understand that you are making some attempt to 'make peace' so to speak. Let me assure you that I bare you no malice or ill will, or anyone else for that matter.George.

One of my favourite quotes re Hopper was from Charles Burchfield: "With Hopper the whole fabric of his art seems to be interwoven with his personal character and manner of living..." That being said, as flattering as you may have intended this to be Jacques, my work is nothing much like Hoppers - save for the commonality that all good work 'should' ( and has to) share, and that is composition and perspective.

More people could study painting if they wish to understand how to make good or better photography (I feel so anyway).

Your faces are interesting, and I enjoyed clicking through your series - I would (personally) like to see more of the environmental context behind your people shots, ( you seem to have a natural sympatico with people) so maybe you would enjoy playing with a wider view sometimes, but this would change everything no?

Andy, I wish (on reflection) that this was made in colour, however, I had B&W in my camera at the time. So as far as painterly treatment goes, all I have is the idea of light and shadow here. Many people now just shoot in colour and convert to B&W via PS, maybe this is the future.

However, with street scenes like this, too often the city imposes ugly detail irrelevant to interest and when playing with compositional ideas - I like to remove the ugly and irrelevant without forcing a get closer mindset. What makes this image interesting to me anyway, is the tension between the pole and the figure -I have made some sketches with and without the pole included - and can't decide which way to go. I shall leave it for now and come back to it perhaps one day. George

I like it.

I dont know what to say about your post Mr Root...

II used an action supplied by friend to automate a compression function so I could post here according to guidelines interpreted by a friend. The sharpening apparently is part of the action so as to minimise the negative side effects of compression...

My use of the term bokeh and blocks was an attempt to describe perhaps what I thought you were seeing in the shadow tonalities ..I don't shoot for Bokeh I shoot for light and composition when making notes.

I am sorry you feel that the image is over burdened by sharpenning issues - however I am no expert in these matters.George

"abrupt changes in tonaity in the shadows..."

I do not think that uploaded image size is an issue here. (I was quite pleased with the amount of detail in the shadows given the enormous difference in EV in the shot.) certainly enough detail to suit my purposes

What you are seeing I think is a blocky delivery of the tones - a direct outcome of two things.

Firstly the fact that the image is all out of focus - made up of bokeh blocks if you like and

secondly, the background building lends itself to distinct tonal sections, given the shadow, EV differentials and distinct architectural features.

As an aside, my reading of the posting 'rules' indicates that file size is limited to 1000 pixels wide - I purposefully chose this setting using a Fred Miranda action when downloading. This action compresses large files in increments and 'sharpens' accordingly. It is a painterly rendition of an interesting fallof light with convenint 'objects' in place.

I am glad you like it Mr Kochanowski. It is a snap of a lady standing under a railway overpass where the light happened to be falling in a way to create some interesting contrast. This image is an example of a compositional note which may lead to me making a painting - I take my painting seriously.

I have no idea what you mean by your question Mr Root.

Just two observations - the shadow cast by the model conflicts with the apparent direction of lighting in the sky - you can see this 'error' of construction repeated in a number of other places... Second issue, a particularly awkward placement of right side foot causing a turning in of the model's knee, tsk tsk very unattractive.

If you like making this kind of pastiche I suggest you look at some of the excellent work of airbrush artists -illustrators for Science Fiction -no I am not referring to teh ratings given on PN...(PS Dont worry I don't 'rate') it would be unfair to be a three standard deviation outlier the wrong direction (all the time) relative to the typical 'fan' in here.George.

A good introduction to your site - which is worth a visit as well. George.

Beautiful.George

You might be surprised - and I wouldn't care if you were Luis. for some reason you seek to take offense at what I write, this is your perogative, just as it is mine to not care, let us leave it at that, as clearly you are very convinced about everything you do. I love your postcard work btw. George.

Male people (and female people) like looking at the female form. One can philosophise and politicise and propagandise as much as one chooses about this reality. One can decide to use an image and read into an image in any way one chooses.

I choose to focus on this image for the following reasons (after bowing and scraping to all the preceeding comments ).

Igor, when I look at this image my eye is immediately pulled to the strong horisontal reflections. So strong is the pull (a play on tonal density and luminence) that it is almost an effort (visually speaking) to dwell on the reclined figure. For this reason I think the image is one of your strongest. This image does not rely on clever apposite devices (shears, huge cameras, bondage paraphernalia etc ) to pound the eye with force and extract easy vicarious pleasure or pain (had to throw that in).

Now for the reclined figure. I have only one observation to make. A pity her hand is extended to partially obscure the jutting rock it touches. This rock would extend the jutting flow beginning at the figures sharp hips to the full horisontal. The jutting rocks are of course (as has been previously pointed out ) in the background and this adds dimensionality

An image worth more than 5 seconds reflection and certainly a paragraph or two of observation on my part. - well done.George

"This is a top notch photo in the most refined heritage of Imogen Cunningham, HCB and Ernst Haas. It shouts "Leica" everywhere. If there's one frame that justifies all your troubles and expenses towards your "L" gear is this one. The fleeting expression could not have been captured with a digital or even an SLR, and the razor sharp detail from foreground to background and corner to corner, in addition to creamy smooth tonal transition requires a world class lens like the 'cron ASPH 35. The TXT gives the perfect canvas for this masterpiece."

I have decided to revisit this image so as to make myself (once again) perfectly clear

I believe the comments above (whilst meant as a compliment no doubt) are an insult to you the photogpapher - because the implicit suggestion is that the Leica gear is the responsible force behind the shot.

Why am I making this point? Because as a Leica user myself it is only a tool and the comment is an insult to all photographers. the fact that the comment is attached to an obviously superior image makes the damage and affront greater.

So I am surprised that you found my comments in any way indicative of a negative view regaerding this fine image. I won't repeat my minor technical observations. I hope this clears up my position on this image. As for ratings - I dont rate anymore - it is a waste of time as anything which is worth looking at for more than half a second - gets 7/7 on this site - numbers are cheap currency here, and that is fine by me.

It is disturbing that anyone will take a positiev comment as a positive - when in fact many of the positive comments I read posted are actually disingenuine and show a total lack of any knowledge regarding photography. Your gusshing acceptance of many of these innane congratulations and in particular the quoted comment above - is surprising. George.

an image that lends itself to accompanying words...

A simply perfect choice of POW congratulations elvish people - youv'e done it again! Wonderful, beautiful takes me to another world. I love the way the light streams through the trees and lights up the grass. The grass looks electric! Great technique - everything is so sharp and clear.

Chris, I discovered yoru portfolio via Top Photographers. Did you know that you are number 233 out of the top 200?

personally I would rate your work easilly in teh top 20 on this site.

As for this image - a pity that the elbow is chopped - throws the balance out somewhat. Perhaps more on the left hand side as a crop idea.

Wonderful portfolio - just started looking. George.

Arian. There is much to see and ponder in this image. Enough in the image to find the frame - distracting. I think it detracts from what should be focussed on and that is the interplay between the various people and the touch of light you have on the face of the man. You seem to enjoy the craft of making an image sing. This one (ignoring frame) doesn't work as well as it could because of too much 'negative' space on right hand side.George.

Maxim - congratulations on your selection to POW.

I find myself disagreeing with most criticisms about this image. There is a a 'twist' in the treatment of the light in the image as presented which works. Firstly you have an overall light filled ambience funnelling onto a darker area (the mirror) which is a reverse of usual lighting arrangements for shots like this. Usually you have the mirror and surounds eminating light which progressively darkens (Renoir like) as the view recedes from subject matter.

Second observation, there are a couple of tricks regarding 'presented' exposure - most striking is the well exposed frame against the (not really overexposed) wall. This little trick is played here and there through the image - which delivers a pleasing (despite heavy post production work) result.

As an image it deserves the attention it is getting, and I like to think that a photogrpah that mimmicks many of the examples of illustration posing as photography on the TRPs is a welcome relief for viewers of the PN gallery. Well done Maxim and interesting selection elvish people. George.

Thoroughly entertaining - congratulations. George.

btw this shot looks much better in large size - hmmmm I would like to see a series - head tilted up an dno other changes to lighting..

Lannie the best thing to do if you want to learn about lighting is to get yourself a basic lighting setup and play, it is amazing what can be achieved with a modelling light and a reflector.

The most interesting thing about this photograph is the beautiful curve my eye traces from neck to forehead - ahhh I am working so so hard to be able to produce beautiful lines like that with a pencil or brush..so (relatively)easy with a camera, a face and a light..

hence higher standards expected from those who know how to use a camera and a light

Oh where was I ? yes yes the photograph - I agree with the poster above completely. George 2/3 by my standards. Don't worry I dont fill in the ratings box - it wouldnt be fair to rate with different standards to those who do here usually. btw -Nana Sousa has a few similar shots that work - I suggest you have a look and see if you see anything in them that might help.

Christos - a Greek friend of mine always says to me

ti kanes re malaka

I asked her what this meant and she said - it means how are you today my gorgeous man...

Is this true? ( hahahah)

I have looked at your photographs.

i very much liked the drummer shot, but this one better to talk to you about.

I want to say to you that when you fill the frame, the photos look much better. Your photography is a celebration of what you do. So do you always celebrate the same way? no!

Think about the best way to make a memory, the best angle, exposure, perspective - as you are celebrating think about looking all the time as if you are looking through a viewfinder.

I personally don't like zoom lenses - for you I would recommend a zoom maybe even a 17- 40 lens and tell you to get real close as much as possible.

You have the heart - train your hands and eye with some discipline - like the Greek Soccer team was trained to play as a team - with heart yes...but with brains and discipine more. Georgos -- this is correct no?

Ok one more point - If just one eye was open here.(from the man or woman) .. the picture would be perfect and definately B&W, shoot people in B&W when you are learning....- a good job of converting you have made.

I hope my stinging sarcasm and nasty manners havent offended you as well !!

Mr Bonder! - a very stong image. I considered removing the top of the left hand side building ( as an exercise if nothing else) - I agree with your final crop - leaving it in - balances the slightly off centre lady who is being framed by the cloud bank ( and filling in what would otherwise be a blank bit of sky... A sweet candid - even teh automobile is being hidden by her sign so as to become irrelevant. Impressive - music to my eyes! 5/6 from me. George

I have come back to this image - I really like it, despite the sky and foot - that elderly(?) person sitting back there and looking is a wonderful touch. George.

A very well proportioned model - now leaving that aside and moving our attention to what YOU control ie the image as displayed....

Very amusing! - this is her cast shadow? - are you sure?

Leaving that humour aside - I am sure you don't see her diminished left arm as a strong point. The IDEA of light and dark model/ shadow as indicated in this very 'draft' image, is interesting, the proper execution would be even more interesting.

In case you are interested... relative to a typical 'Fine Art' nude (ha how I just love that expression!) in a gallery or book ..dare I say it even in some magazines? -- this one would rate a 2/4. By PN standards - congratulations enjoy the adulation. George

Firstly Candice let me congratulate you on the sensitivity and intellgence you bring to bare on many of your shots with children as presented in yoru folder. Secondly let me say that I think this is a remarkable development from the typical shot presented and I encourage you to continue looking for such angles on what is obviously a favourite subject matter.

I very much like the way you have framed this shot - the building leaning towards the child, and the elderly onlooker deliver great depth and drama - clever use of distortion, to achieve this. Just to the right of the eave is a section of cloud/smoke that needs fixing up ( if this sky is artificial you may consider going back to plain the photo would still work quite well) it is almost a scythe in shape if you can see what I am pointing to. Technically I would like to see what this would look like with a slightly greater tonal range - more contrast than tone. My chief 'issue' with this shot would be the unfortunate prominance of the child's left foot, to an extent spoiling an otherwise excellent use of perspective and framing of wide view. The more I look at this the more I'd like to see something better regarding the treatment of the sky. Lovely light on face. I'd rate this a 5/5 on my scale . Refreshing and well done. George PS - think about ditching the faux frames or adopting something more elegant - less is more imho - eg see Doug Burgess's (?) for an ok example.