Reflective image of het Pope Leo XIII Seminary with ecclesiastical roof shields. Higher Institute of Philosophy.
Beautiful building and still in use as a seminary and student accommodation.
I have seen such coats of arms also on the roof of chapel Leo XIII seminary before on a church roof in Zagreb Croatia.
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Alan, I agree, the version with some modest colour gives more pleasure to look at. Fine shot.
Lou
High speed cosmic attack
Here's a second post this week. Maybe something along the lines that Simplejoy might enjoy :-)
captured this about 2 years ago with the 105 Nikkor Macro lens .
Indeed - I like it a lot! Very creative and interesting. Are those drops on a CD or something completely different?
Thanks, You got it immediately!
Yes, water drops on a CD with a torch shining directly at them. It was fun to play with the reflections and all the colours you get
I know what you mean. Sometimes we get desperate and will take pictures of anything, I've photographed even a shriveled sweet potato. Fortunately you have a much better subject here than a sweet potato! It looks like our dandelions though probably not quite the same. You've captured very appealing detail even deep into the fuzzies and down to the seeds themselves. It carries the "feel" of the bright warm sun and fresh air.
For the fun of it, try converting it to monochrome and have a play. I did a quick play in the free mobile ap snapseed and it looks great that way too!
This one is a bit of a puzzle Bryan. I admit to being a novice when it comes to shipping containers (none of those here in central Mississippi) so I'm not able to surmise why one is set off far from port in what looks like farmland. Color contrast (red/green/blue) of primary colors works. What's kind of mysterious (besides the container itself) is the blotches in the right half of the phot that aren't present in the left half. There's a blur on top of the container and another to the right, then a bunch strewed in the trees of the right side. If it's not already a crop, I think I would crop it in from the right to get rid of as much of the blurry area as possible and get the container off center.
I really like this subjectively. It is a little dark symbolically and visually but it works well that way. The slightly withered leaf and the rotten planking have visual detail, and the leaf has lovely delicate veining and coloring. Both suggest death and decay but not in a morbid way to me, more as a solemn recycle of life. The diagonal boards on the left intersect with the more horizontal boards on the light to provide leading lines to guide us visually to the leaf and on through to the "other side" whatever that may represent. I am puzzle by the right edge. It does not look like a natural part of the image that occupies the main part of the frame, it's too sharply cut off, and it's not a foreground object because the leaf appears to extend over it. I don't really object to it, as it doesn't conflict with the theme and adds to the mystery, but I would like to know what is happening there.
With many of your creations, I have to step outside my own head and try to see them very objectively because alternate colors is not the "brush I paint with" to use the very elegant turn of phrase that's been passed around in this week's thread (not sure if you or Pete were the originator). With this one I can respond subjectively as well! I really like it very much.
Welcome, Alan. Please come back again, share your photos and your thoughts on the others you find here. We have quite a variety.
I think they are both effective interpretations, but very different. The monochrome has a more artistic feel to it, and a more vintage look which matches the subject. We notice the rectangular building blocks of the photo more: buildings, doors, windows, stonework, paving blocks. The excessive array of wires almost looks like ship's rigging in this one.
In the color version the geometries are less obvious and instead we pick up the cheery color details of pots, flowers, foliage to brighten up the dark architectural elements.
In both, the leading line of the road curving out of view at its vanishing point is an effective compositional centerpiece. I do think that both might benefit from some minor adjustment in the highlight/shadows to bring down the sky (and reveal more detail) and light the shadows in the buildings.
I'm always drawn to reflection images, and this one has superb detail. The coat of arms in the roof tiles is something I've not noticed before.
Interesting macro mystery that Simple Joy solved immediately and I would never have thought of. Love the prismatic effect, especially in the trails your attack-drops are leaving behind. You guys are very creative with your chose up photography.
What you're looking at is a leaf, sitting on the edge of a composite board that hosts a shed. To the left is the shed's edge, and to the right is the composite board's edge and the grass on the ground below.
Now I see it. Puzzles are fun.
I struggled a little bit creating a fitting image for the theme "stone"... When I tried a closer shot of a couple of very tiny (2 mm in diameter) crystals, I was reminded of one of my favorite songs by the band "Thrice" called "The weight" (www.youtube.com/watch?v=iktAVY4dcPU ). A song about love and commitment.
Double points for seeing this through! by simple.joy, on Flickr
I really like B&W but here I prefer the colour version. Both versions need to be seen large.
B&W generally needs strong lines and tone subtlety to be at its best. The cobblestones and kerb and the top of the roofs go some way to giving the lines but they aren't taking us to a subject, they just sort of peter out. The lamp post and wires are a problem in both but especially in the B&W where are really aware of lines. cutting off the tops of the wires again gives us lines that take the eye but don't deliver. Further, they distract from the main lines of the kerb. If you really want this shot, perhaps consider removing the wires and the top off the pole.
The colour version immediately had depth. The red flowers and green leaves give interest to the foreground. The same colours reappear on a window box well down the street. The repetition in the second box may be small but it adds pattern and creates more interest as the eye moves down the buildings. The B&W version misses this completely. Something similar happens with the warm yellowish colours on the lower section of the wall at the front and the yellow pot plant on the doorstep.
The colours in 2 are muted. They don't overpower the scene and we still feel the old dark stone of the street. The touches of colour that are there seem to have important functions to me.
G'day Alan, nice to meet you here.
Containers may be more common in Australian countryside. Used ones are cheap, secure storage and get placed all over the place. I see them as blots on the landscape. I took it that Bryan felt the same but that might be my prejudices influencing my response..
Glad you liked it :-)
also good to see that editing and reposting is allowed.
It used to be allowed on DPR, until it was more or less banned. There was, among others, a very talented user called Sabrina81. I really enjoyed seeing what a bit of her editing could bring to a photo. I learned a lot from her
But unfortunately she was driven off by a few others that complained bitterly. They couldn't imagine that their original posted version wasn't already the only and the best possible way to present it.
I stopped posting in that forum after that :-(
Thanks to those who commented! I always appreciate your giving my images some of your time and your thoughts. To say a little more about the image and its processing: I loved the old cars in Havana, and I spotted this one and noted the little girl's expression as the car veered around a corner in a fairly deserted part of old Havana. The result was dismal. My first issue was to reduce the excessive noise/grain from high ISO and dirty bus windows, which I did with the new LR tool. Second issue was the extreme tilt caused by the bus veering around the same corner while I was taking it. I used the new PS beta tools to try to fill in the edges that straightening obliterated, and it did OK some places but not so much to replace the rear tire on the car. I had to do that by hand the old way. Then I had to pull it all together so it made a coherent whole. I wanted to restore some grit and some detail so I used an antique Topaz Adjust filter, masked out then painted back in the degree and places I wanted it. I fiddled with the color toning a bit back in LR to get the color palette I'd anticipated. So it's a mix of on site impulse, with some instant previsualization, then experimentation in post to get it someplace I'd imagined.
Thank you, those blues struck me in the moment.
Thanks Mike, you are right that it is an interpretive rather than documentary image. There's nothing removed or added (except the back tire and distant corners. The original was badly tilted and the noise was the ugly speckled-color kind, so I had to remove it and add it back to bring it under control.
You are right about the bus. And you are right about exactly what my ambition was with this thing. It was one of my favorites of my Cuba photos but never shown because I had never finished it till last week. I'm looking at others. A few are so bad that all I can do is paint them. Of all my trips, this was the most challenging photographically because of the limitations on how I moved around outside certain areas.
Now Linda, we both know there's not much marvelous about Minnie. She's a tired old lady with a missing muse and a lot of pictures on an external disk. But when I took this one, it did scream Havana, because it is classic. The little girl made it special.
It is from a bus with dirty windows (a rather tall one at that) careening around corners and racing down bumpy streets. The horse and donkey carts had better viewpoints but rougher roads. It was an interesting challenge. You can't really escape chaperonage in Cuba either. I've always been able to give the tour guides the slip on other trips but in Cuba one is best served by being compliant. If I ever manage to get back I'll have a better look since I have a cousin who has moved there.
