Rhodes Greece
In cellphone shot.
I edited on my phone so I probably did over sharpen, tough for me to tell on this screen.
Thanks for the feedback.
Sept. 27, 2023
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For me the compositions all work. The first is quite nice as a phone pano, showing old and new elements of the city's architecture, and a healthy swath of the harbor. I don't think you really need the edge of that tall thing right on the left border, it doesn't add, but neither does it much detract. You'd have more leeway with editing with a photo from your regular camera, I think. I know it's that way for me.
I like the tourists trudging uphill through the portal, with the ship's stacks in the background. The Telltale Sign-On-A-Stick explains that this is a cruise ship tour group, and very likely those filing past them are from a different tour. Most of us have had this experience and easily recognize it - the hasty glimpse of some exotic city in an exotic country we may never have seen and may never see again, where we come armed with cameras ready to make the most of our short stay and take home our memories.
The image of lady and the statue is nicely arranged, the two humans, one flesh and one stone, facing off in the bright sun. The lines and shadows support the composition and there are here no distractions, just the two figures, facing one another across the centuries.
I share your general sense of frustration though. It is nearly impossible to choose our best compositions while we are trying desperately to keep up with the woman with the Sign-On-A-Stick, since losing her could get you lost from your group, or your way back to your ship, in a place where you may not speak the language or have any familiarity with directions. I always set my camera on auto, grit my teeth and snap away, hoping for good luck rather than good sense.
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This is pretty funny. It merits the exotic, garish colors you've created for it. The three lines hold it together compositionally but the wording is what makes us smile. Well spotted.
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Yellow and royal blue always work as a color scheme, and railroad tracks always work as leading lines. The big puffy nature of the trees and clouds work well together. I am not sure I wouldn't get rid of the pagoda-looking thing that goes over the tracks, its disappearance into the trees is a little too jarring, and there's some other spots of gray around it that bother my eye if I look too close.
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I like this second as I prefer the half person walking away rather than toward me!! ... Maybe a personal quirk ....
I think of composition from the perspective and inclination of the photographer. A bit of amateur psychology that we are predisposed to one of these three approaches ... As far as I know I have made these categories up but I'm sure I'm not the first to have done so -- I've just never run across this approach .. Early photography was closer to painting and the view camera required some effort to set up and use. Adams, Weston and others of this group were best known for landscapes and still life's much like the late 19th century painters who worked on site This approach requires site, time and intent and making adjustments to a selected scene by burning and dodging (in early days) rather than with a brush .... Leica introduced us to reactive photography -- reacting to the scene in front of us -- with war and street photography. Photo-grams have been around for a while but with photo tools -- Man-Ray and Moholy-Nagy are the ones I associate with it. More recently with digital it has become easier to combine multiple photo and use the digital tools of the Post Processing software -- and thus the abstract and color fields we often see here -- creative -- creating something not seen by the camera alone ... Not sure how this helps but I find that the compositional elements I use seem to depend on which approach is being used -- and I rarely do anything but react myself ...
WhyNot
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If you've seen Deliverance, you'd know I wasn't smiling looking at it.
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What a terrible avatar, this one invites us to stop looking at your photos. Pity
Lou -
I assume this was directed at me...
Somewhere in a supermax prison, one of the worst humans living on the planet today, would probably be amused that someone found a cheap plastic plate with BBQ sauce smeared on it more terrible to look at than their face.
I'm sure around Nov 3rd it'll be something different again because October will be over.
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I assume this was directed at me...
Yes, you're right, it was my personal opinion. On the other hand, you are free to do so.
So I should have better kept my mouth shut. But freedom of speech makes it
possible to express myself this way, just as you are free to choose this terrible avatar ;).
So burn me down, I can handle it.Lou
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JSPhotoHobby
That narrow street with all that colorfull peopleis is fantastic. The whole combination got an almost biblical appearance
and those two modern ship buildings above the arch makes it an almost surrealistic combination.However I like that shot a lot.
Lou
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I don't think so. It's an honest opinion. It's fine. I have no desire to burn you down. I find the whole thing amusing. Tad bit of blood and an image is disturbing, harmless looking photo of one of the worst people alive, no one batted any eye for months.
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This is a nicely executed conceptual image that could be interpreted a number of different ways. I prefer to see it as a nurturing hand ready to save the boater if he sinks. That the boater is an obvious toy figure makes it even more poignant. But it could be seen many different ways, from protection to salvation or as a creepy threat, about to pull the boat and its occupant under and destroy them. Giving the viewer the freedom and the raw materials to form their own concept out of yours is a great way to approach photographic art, and one we don't see enough of.
From a critical perspective, you could lower the highlights a bit on the boater. But that is trivial and superficial advice.
This is really good. I continue to be impressed with the prolific nature of your creativity.
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Interesting.., I‘m pretty sure that boat is in grave danger! 😱 Very well done @OpenCube
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I'm sorry for not responding earlier to your question - forgot about it... Thanks a lot for your interest.
It's just light painted as @RoelHendrickx suggested. The reason why it's as prominent in the reflection probably is caused by the direction the I was holding the light. In order to not cause the lens to flare and loose contrast, I turned the (small) light source slightly away from the camera. That probably increases its intensity in the reflection. With the shapes of the light painting it's a bit of trial and error, but mostly about intuition/feeling which is quite fitting for the way I make music as well.
