aplumpton

Thanks, Pierre. I hope to use this one as part of a series on the spirit of place in this agricultural community ("Song of the island") which, if imagination is sufficient to round it out, may go on exhibition next summer. But it is a harder challenge than I had thought.

A young child and apple blossoms attracted me in making this photo,

which I have lightened to bring out the girl's eyes and brighten the foliage

(this photo replaces a darker earlier one today). Thanks for your

comments.

Frederick suggests that for him there is comfort in the abundance of matter in the scene. For me that abundance overshadows what might be in the scene and what I might draw from it. By converting to B&W I tried to eliminate the chromatic part of the abundance to see if that might unearth the subject more and allow me to explore it. While the light rays still mask the subject to some extent (unless they are perceived as The subject...) it does simplify the image a bit I think. The subject is still somewhat "hidden" for me and I do not see what is really different about this sort of composition.

This is not an ugly setting as such and with considerable potential that I feel is not fully realised. To that aim the photographer has at least applied a more than usual technique. I am not a great fan of the Cokin plastic filters in view of their optical properties but he has used the soft gradation ND filter to one advantage in order to even out the light in the scene. My problem with the image is more akin to what Fred says, the type of photograph is oft seen and in any such cases the appealing subject becomes simply light rays and color swashes without greater visual interest. The colors may well be natural but they are to my mind obfuscated and denatured by the light rays. I have wonder what the organic subject really is, what is being shown that is different. Perhaps this would work better in less dramatic light where the nature of the subject could be better perceived and explored? Too much is present within the frame and yet I feel there is too little. A more subtle if also dramatic version might be in B&W, but I am not sure that would appeal to the photographer.

Some very good transfers to B&W. Sometimes a color shot turns out later to be good or better in B&W although I tend to make better B&W photos by first thinking in B&W at the capture stage (something my life's partner accuses me of doing quite often) as the approach to subject matter, tone (how colors transfer to B&W (and whether I wish to filter or not at that stage), light, texture, contrast and composition are often different from those factors in a color image.

My view is that the cropping to a narrower format removes the compositional success of the original formatting, as seen by Alf, so dark areas or not, I think the original is more attractive.

Alf, I fully understand and respect your desire to not alter the image other than sharpening and balancing of light. That same outlook inspired me before I decided that photography to me is as much a tool to craft an image as a device to two dimensionally capture what we see. That crafting may or may not approach reality of the capture moment but hopefully expresses something I saw or felt in perceiving the subject. That is nonetheless limited by my subjective approach that is to alter some images such as removal of dark areas (I lighten them in my print darkroom for B&W work based on film capture) or darkening of light areas that I feel do not add or subtract from that perception or feeling.

Cloning out a small detracting secondary subject is also I think useful at times (although I strongly resist chopping out a bush or other vegetable matter in that sense). On the other hand I have a clear dislike for Photoshop chromatically over-intensified images, especially of nature subjects and scenics.

When I saw your photo I thought of the approach of Micheal Kenna, whose minimalist scenics and apparent oriental influence I often like, an approach I attempt to infuse to some degree in my own work. Such thinking was in part behind my thought that your image might gain something by lightening or cloning out the dark areas to simplify the information provided by the scene, that I think very well chosen and captured.

This photo is quite magnetic. The wonderful quality of Carlos' images is that they incite thoughts that go beyond the image and very probably beyond one's comprehension of what one is looking at (we often need such challenge).

I am reminded of one of Jasper John's paintings that more explicitly contrasts the significances of what is normally seen close with what is usually far away. He demonstrated by it that what is normally seen far away and less distinctly is often clearer than what is close (briefly described, a bullseye of a shooting range close up and a series of heads we normally see close up in opened boxes with eyes blocked off, thereby rendered remote). That sort of anomaly may be what can be also perceived here. The moon is very detailed and "here""(well exposed, preferentially) leaving the natural setting go near black. The dog close up is not very visible, whereas we know more about dogs and almost nothing aboiut the far off moon which is here detailed. The choice of a title is good, moon and dog are the subject, whether joined together, or not (Not is good, because a human might be expected to be on the beach and connected to the presence of and relation to the moon, but such a view would I think have less interest than this one). Moondog. Indeed!

Of course, that is but one possible perception of this enticing image, while not considering another alternative view that the relation between a dog and astronomical territory is very remote to our normal conscious, notwithstanding the dog's superior (to human) geographical awareness. Wolves may howl at the moon (apparently), but few dogs seem to be preoccupied so directly with it, as their geographical mapping requires that they visit a territory on foot (paws) in order to memorize it better than we do. A dog walking away from the moon (if we forget the probable reality that he is approaching his master) on a secluded beach at night, makes a quite original scene.

But the image's compositionally induced mystery also draws one to it, without any ascribed meaning other than what the photo shows us and not. It may make no claim to creating a certain type of enigma other than that captured in the shadows and dark tones. Absence of detail is like a vacuum, it draws us into it. That quality of much of Carlos' work makes this a very worthy POW for discussion.

Very pleasing image, imbued by an element of mystery or enigma that exists elsewhere in his portfolio. I this case, what we do not see seems as important as what we do, and a technical solution to opening up the shadows a little would destroy the effect. I love his approach that overrides technical "niceness" for the artistic or symbolic aim, like the case in his portfolio of the beach photo of a lady and a little girl in an opposite high key and washed out effect that magnificently captures the feeling of place and moment. A very original and successful artist-photographer. One of a relative few I humbly bow my head to.

Very successful architecture image, with foreground interest and fine modelling of domes and other features, with good shadow detail of the attractive white finished mosque buildings. The color tones are neither cold or warm, but neutral.

Michael, the image gains in large part due to its simple but effective composition and its wistful light tones which I feel are downgraded visually by the dark areas (whatever their reality) in the areas I mentioned. I understand that they are not incompatible with your appreciation, but they are for me. Art for a viewer is quite subjective, n'est ce pas?

The composition is good but the oriental minimalism is disturbed in my view by the dark sky elements that also reflect their dull tone on the central and lower right foreground as well as diminishing the homogeneity of the light-toned clouds. If he uses post exposure treatment such as Photoshop, the author could eliminate these effects and greatly improve the beauty of his composition.

The gradation of tone from left to right is something that effectively completes the image and provides the viewer with a curiosity regarding what might lie beyond the subject in the dark. Very different from his first POW selection of a senior lady sitting by the door to another room behind her. Many of Paul's photos show this originality of perception coming from his very good sense of observation. If the file size permits it could be a compelling large B&W print.

Bill, I looked at your portfolio following one of your recent forum comments and am equally impressed by your technique and approach. Great photo, together with the other which is a close-up of the engine.  You may have seen the Lance Keimig and Scott Martin book "Night Photography - finding your way in the dark" which I recently acquired (but yet to fully read). Your low power flash pop method is super and I have started a series of portraits of old architecture that I will try to improve by adapting your approach. Occasional insomnia has induced me to be a night hawk and to try such approaches.

Agave is from the Greek and signifying illustrious or admirable, which can be said to describe your fine B&W image, well lit. The tones are nicely converted from color (a green plant), but what I like most is the animal (or even human) character of the composition, a strutting large bird and other symbolisms.  A still life composition with character.

A slight opening up of the shadows in PS would help to improve the effect of this interesting image. The most unsuccessful visual element is the duo of the two vertical signposts at the extreme left and the photo I think is greatly improved by cropping them out and thereby slightly reducing the width of the image and creating a more abstract rendition of the road. An intriguing composition that was well seen.

A classic site of China, possibly as popular as the Half Dome in the US and other icons of scenic photography. I like the chosen position of the person, as the intersection of his head and the river line adds a little tension to an otherwise quite static image, however pleasing for its calm. The vertical option adds a bit more impact than the horizontal image in my opinion, although I think the image would gain by eliminating some of the grey clouds by cropping (upper roughly 20 % of the image) to direct attention more to the foreground and increase the impact of the wistful diffuse cloud reflection in the foreground water.

An opposite critique might suggest that the grey clouds in fact balance the dark and featureless mountains (other than their two dimensional form in the photo). I agree that the Photoshop treatment has left an unwelcome halo over the mountains, easily seen in the larger image.

Most of the images in his portfolio are I think much too punchy (Photoshop modification, or the like) and loose the more subtle appeal of otherwise good compositions and color balance. On the other hand, the chromatics, composition and subject interest of "A New Day" and "Morning Wave" deeper within the portfolio are in my opinion much more successful and show considerable perceptive skill.

Jack, thanks for your feeling about this shot. I always enjoy how you see images, whether your own or those of others. I visited one of your August critic requests (two kids) and most enjoyed it. 

Initially I just wanted to highlight the empty chairs in this nocturnal shot but quickly realized that the quick burst of the LED flashlight I used (during an 8 to 12 second exposure) was of totally different color to that of the night light (town light reflected from the clouds).  The differentiation was welcomed.

The different ways the two have reacted to the camera are evidently what makes this image so appealing. How many children would pose with a leg at a right angle? It is a gest of a child but also something that identifies the character of the subject. His look is also determined, compared to the little girl who is just happy to be part of it all. They have both adopted this playsite and allow the photographer a few moments in it. Very fine perception, Jack, and maybe it could be part of a series of yours on little people and their environment?

Unlike the original image "Midnight Blue", I decided to use Photoshop to

alter the colors by seeking a neutral white (visible only on part of the deck

chairs). The result, which I like less than the untouched original night

picture, may however appeal to others. It possibly makes day (or dusk) of

what was previously night, providing a differing atmosphere.

A late night photo experience - minimum photoshop adjustment of

exposure. Your comments are most welcome. Arthur

From a series in August (2015) of in-camera rain images. Thanks for

viewing. Your comments are appreciated.

Unmanipulated rain image, on vacation, August 2015. Thanks for your

comments.

Countryside of Suffolk, UK, in rain (on vacation), an in camera image,

permitting the effect of blur and water. Comments appreciated.

Series on sense of water, made during a rainstorm, without post process

effects (other than balance of light). Thanks for your critique.

Hello Christopher. Thank you for your kind comments. You are right that the effect varies with the intensity of rain and the way it is "frozen" (captured on a glass sheet while trying to keep the background in focus). I also like this one, as the trees are rendered somewhat indistinct through the rain drops. I will add more to the series as I transfer them from camera computer. I have also done this with snow melting on a glass. Further work will explore more the question of content versus effect.