fivetonsflax

Good composition, good use of the moment. The mural in the background is a little distracting, but I don't know if there was anything you could have done about it. If I could change one thing, it'd be to pull back a little so we can see the practitioners' feet.

 

Updated: I see others have commented about the background. Well, what're you going to do. I just wanted to add that my comment about the feet applies to a couple of other selections too. All the shots have admirable timing and composition.

Nice contrast and textures. This photograph is a tactile treat. I also appreciate the close crop. Too many people are afraid to cut off part of a face.

 

I do have one criticism, which is that the subject's eye is not in view. I think there would be more of a sense of connection if one could see the subject's eye or eyes.

Thanks for clarifying.

 

This seems much more subjective/personal in its conception than most architecture photos, to me.

Yes, it gives the image its dry humor.

 

I like that this image eschews stereotyped cuteness. Rancha looks like a dog, not like somebody's idea of what a dog should look like.

What do you mean when you say "this genre", J.B.?

With a little distance, I agree with James that this photograph lacks a unifying subject.

 

Thanks, James.

Thanks, Mike. How did you stumble across this? I have a bunch more photos in my gallery in the same vein, some of which are, frankly, better than this one in my opinion.

Delightful composition. Cropped or full-frame?

I enjoy this kind of subject matter. The inclusion of a human provides scale and a sense of loneliness -- a nice touch. I would like to know the story behind this photo.

The lion doesn't seem necessarily so well-intentioned toward the photographer.

I wonder if cropping the drummer a little more would make for more symmetry with the sax player.

 

As for grain -- what would you suggest I do about it? I shot this with a fast (for a zoom) lens, wide open, at as long a shutter speed as I felt I could get away with. I know people like NeatImage and Noise Ninja, but I haven't tried them. I worry that noise reduction will kill detail and leave my photos lifeless.

Oh yeah, one technical comment. I briefly owned the lens you used for this, but returned it due to its weight and cost. I miss it though, I really liked its contrast and feel, and I think I may end up owning it again.

That line is a bass. It does clutter things a little bit, it's true. On the other hand, I don't think I like the picture without it. That *is* a stage, btw, not a studio session. Lit like the inside of a dog, too.

 

I prefer to photograph musicians when they're playing, because that's when they're "on" and present in all their intensity. When I took this picture, this man was gathering up his energy, listening to the music (free group improvisation), and getting ready to jump in. It was an in between moment, where playing and not-playing meet. So I think you're on to something with your comment about that.

I love that old Art Deco style. For me, what makes this photograph is the repetition of the subject, smaller, in the background. The lines of perspective draw me to the left edge of the frame, implying, to my eye, an infinite series of repetitions. A bit of mystery from the hand of David Lynch or the pen of Borges.

 

So ... not to be pushy, but if I understand your bio correctly, you might now go add a few words to an image of mine that you've rated.

A high-energy moment in an evening of improvised music.

Lovely, lovely color and composition. I like the way he looks back at us. I do think the image would be better if the plane of focus had been a little further back, to get his head in focus. But even with that nit, this is a fine photograph.

Again, very low light. Check out the contrast between his two hands. If possible, I'd like

to find a way to draw the viewer's eye to the top hand and the face. Maybe I should crop

the bottom of the picture. Let me know what you think, my fellow photographers.

Low and contrasty light makes for tricky post-processing.

Here's a suggestion. Ease off on the blur near the bottom of the frame. That will more closely mimic the look of a large-aperture lens. The grass under your young sprite's feet is in the focal plane, so my eye, at least, wants it to be sharp.

 

If you try this suggestion out, I'd be pleased to see the result.

I think the blur is a little bit "precious", and I'd like to see the picture without it. I'm happy and impressed to hear that this is mostly an unmanipulated photo -- it's a real coup of timing. I wouldn't worry too much about the kite being partially out of frame, I don't think that harms the composition very much. Kites are kites, it's the young one's facial expression and bodily posture which give this picture its interest, IMHO.

 

Now I don't know nuttin' about nuttin', so take all of this for what it's worth: exactly what you paid for it. :-)

Is this a manipulated scene, or did you really catch your daughter off the ground like that?

No flash, Damien, just available light. But I appreciate your criticism.

Thanks Meiko.

 

Either there's a database error, or you're posting in the critique thread for my picture, not yours ...

 

Anyway, you are absolutely correct that I like B&W photography.

 

If I respond more, it will be over at your picture's thread. Cheers.

A didactic composer holds forth.

A friend of mine spent a year at Oxford, and I saw this building in person and in her photographs. Your photograph was instantly recognizeable. It's a gorgeous building. Kudos to you for getting out of the architect's way and simply presenting this landmark in all its grace and solidity. Good exposure, good framing, crisp bright colors ... very very nice.