timohicks

Great shot Harry; detailed, focus, depth of field. excellent capture.

Comments Welcomed, Thanks

Comments welcomed; Had a bit of fun with this one . . . Thanks

Jesus Lives; Comments Welcomed . . . Thanks

Thanks very kindly for your comment Chris; but the interplay of shadows is what I was aiming for. In fact the diagonals are so strong they are complacent. The door and shadow on the right offer an asymmetric reprieve from the diagonal dominance. Also, the white triangle is negative space so thanks for the observation; I was aiming at adjusting the contrast so as to create a tension between the shadows and white facade of the house---a type of figure-ground reversal. Thus, prima facie, when you look at this composition what do you see first the shadows or the facade. Keeps things interesting. Bytheway, I posted your suggestion; what do you think? Thanks again . . .

Comments welcomed . . . Thanks

Interesting tonal values in this one; details in the stately metal building and proximity of the building contrast nicely with the supporting cast. Has a tinge of the surreal to it; excellent composition. Again, very nice work.

 

 

 

Excellent clarity; diminution, scale, horizon high on the picture plane.

Nice work.

Thanks for your sympathy Robert; it baffles me too. I think the site administrators should eliminate anonymous ratings and/or eliminate 3s and strongly encourage participants to exercise fairness in the rating system. Thanks again, Tim

Yes, I understand your situation now but remember the image especially the digital-electronic image has issues of flatness unlike that of a simple photograph, and not just a media difference. The LCD is different from the CRT monitor; how you adjust the gamma, brightness and contrast and so on determine the clarity of the electronic image. What I am getting at in that we all in various ways use visual cues. When plein air painting, I squint frequently to ferret out reflected light bouncing off of my cheek; doing this enables me to see distant images clearer. The long and short of my response is that we do not always know whether what we struggle to see is due to a lack of visual acuity or poor ambient lighting around the image.

It is strange that our culture thinks of a shadow as the absence of light; this I think is do to a lack of visual acuity (training the eye) or simple unawareness, inability to discriminate or discern the surface value of objects and flat surfaces because a shadow may never detach itself from the surface. How about this---not only can you not have shadows in the absence of some light source but neither without a surface can they exist (albeit negatively I make this point). Now the question becomes what is the role of surface in the life of a shadow; kind of like asking what is the role of rhythm in the life of drumsticks.

PN hardcore photographers and assorted picture takers do not neglect shadows as much as they do not see their value (pun intended). Value, variations on light and dark, is essential to the development of composition and design; if you don?t know this, you are very likely not looking for it.

I?m not sure I understand what you mean by---Shadows are essential in giving a three-dimensional feeling to two-dimensional images---because there are six parts to understanding the surface of a sphere: (1) Highlight, (2) surface value or object color, (3) shadow, (4) core of shadow (darkest part) (5) reflected light, and (6) shadow that is cast. Therefore, yes shadows are rich with colors because of the color of the surfaces they help to define. But are you suggesting that you have no visual depth of field?

I would not think everyone is familiar with Monet.

 

 

Tim

 

The focal point is the most emotive flower I have evey viewed; it appears to be weeping. The ambient lighting adds to the irony. Don't know quite what to make of the shot. It's definitely one in a million. Oh, and thanks for your support in the past.

I would like to see all the bracketed versions of this shot (of course if you did bracket) Good composition but excellent atmosphere and ambient lighting. Well done!

Thanks for the complement. Please see my comment regarding the intimacy of shadows on the "House on Fifth Avenue" series.

Sorry I am just getting back to you Ransford, but if you observe the shadows in House-Tree Shadows: #5 of the House on Fifth Avenue Series (where I reference the metaphor) you can see the reflected blue light on the shadow column just right of center in the composition. Take another look at the shadow accents on other parts of the facade and you get, just for the moment, an event shaped by the light unlike any other within the continuence of time over space. Maybe that's too cosmological but the shadows paint the facade with their rich assortment of values, shapes and linear qualities all joyously orchestrating a symphony of rhythms, lights over darks and darks over lights, abstract silhouettes and areas massed as darkness; flat black and commingled as the absence of form, shape, contour. Shadows too frequently are the forgotten space reveal only via mystery and intrigued or other forms of theatrics. But the intimacy I speak of is parceled with a universal language posed by shadows always juxtaposed with light and always fleeting as it be difficult to catch (thanks for asking).

A comment between Gulls . . . Care to join them?

Comments welcomed . . .

Thanks Michael and Ransford; I am honored by your comments and do most humbly appreciate your efforts and interests. You know I posted this photograph only about a month after joining Photo.net and had not really worked out a technique or method for framing. In fact, this is frame was created in Adobe Illustrator CS; I do everthing exclusively in Photoshop CS2 currently.

 

 

 

I agree with both of you regarding framing proper. Less is always more; this what I have come to understand where digital (electronic) colors are concerned as well. Plus, I have since learned a few tricks in Photoshop that meet my taste for presenting my portfolio on line. Besides, it is a hell of a lot easier than framing my paintings.

Except for the bilateral symmetry, this is a very good photograph. Eyelevel is at the upper third of the composition and the entry is inviting but it is also it the center of the pictorial space. An inch-and-a-half to the left or right and you have a perfect photograph.

I took the background for this composition yesterday; it is a

weathered cinder block wall endowed with manifold textures, colours

and interesting patterns. Your comments welcomed.

I am a painter on an enterprising quest to find the nexus between Photoshop CS2 and traditional painting media. More and more I am discovering techniques with the software that satisfy my passion for painting, painting textures and media such as watercolour---and I do not use the watercolour filters in the software to achieve the watercolour effect. Photoshop is also an excellent medium for exploring color and form replication---a feat that would take many hours with drawing or painting media on canvas, paper or some other surface. I have learned as much about painting and compositional possibilities from using Photoshop as I have applied painting and composition elements of design to my photographic manipulations using the software. Hope this answers your question and thanks again for your comments and support.

Thanks for the continued interest in my photograph Michael; It's comments and dialogues like this that augment the quality of creativity and imagination on this site. Thanks for your continued support also Ransford. So why when a woman once asked you to paint a pink painting because she had a pink wall did you object (just being facetious) This is really funny; who wants a pink painting on a pink wall? Certainly not someone with taste.

 

 

Actually, since Michael first made his comment, I have tried to see his point of view and Ransford, I am in absolute agreement with pictorial framing conventions especially for presentation. Framing traditions have been and still are a fine arts domain, so I am not totally surprised when photographers do not always see the need or connection. I see the merits in both of your dispositions so I decided to modify the frame by removing the red accent line. See above. Thanks again guys for your support.

 

Thanks guys; I had a sudden epiphany with this one; what can I say, Photoshop has taken photography out of the 19th century.

Thanks a very much Jenny, I always seek to make the best possible presentation for my work.

Comments welcomed . . .