Repetitive Pylons
by Heavy

Comment:
So difficult I know, but I find this suffers from a lack of definition around those piles and braces - probably simply because of the brightness of the water; even allowing the sunlit areas of wood to burn out (as I think you should, in this instance), there seems a lack of visible texture and tonality in the wood. Perhaps a touch sharper, or a little work with curves, might bring things out more? Good colour in the water though, and in the reflected light. 6

Waiting for the tram
by alithenake

Comment:
Well - there are a number of obvious 'faults' here - at least things that I see as 'wrong' without seeing a good reason for them. The image appears to have been adjusted to be vertical according to the furthest lampost, but that leaves the entirety of the building and all the (larger) lampposts seeming tilted. There's a simple perspecive correction required if you want everything t be vertical/horizontal. I know there's a tram there because your title tells me so, but it would require some careful looking to find it without that, and otherwise it seems a weirdly tilted image of a buildng at night, with a couple of light trails. The brightnedd of the building's lights means that any trails from the tram's windows as it has passed have failed to register.

It was a good idea, I think: outside of the run-of-the-mill obvious approach taken by most, and a effective use of the challenge stipulations, but badly let down, I fear, by the image's problems. 4

As you've PM'd me asking me to look again at the image, here I am. I think I confused the cross-wires at the end of the road with the suggestion of a partly exposed tram - that and the very odd light-trail so high up the image, and your title. I still absolutely think you were wrong not to adjust the tilt of the shot, I still see no point to it; it adds an unconfortability to the image that it doesn't deserve. Still a 4

Railway to the east
by teto

Comment:
A quite common idea, and for me too rigid in its application without adding anything new. The usual recourse of such image is in high quality, but I'm afriad the contrast and light and suspect resolution around the tree don't do you any favours here. 4

Not Another Railway Track Photo....
by 3DsArcher

Comment:
Organisation of the various planes within this shot is a bit disappointing: an amost purely graphic image should, i think/believe, be more careful with the angularity of it's subject. Your positioning of your vanishing point, and your use of colour, seems arbitrary, neither centred nor privileged, and the colour seems under-whelming, could surely have been worked up into something more impactful, or lost altogether. An annoying element is that it appears that a horizontal rather than slightly tilted presentation might have given a much more harmonious composition, placing the tunnel entrance on a much stronger area of the frame. A good idea, though, but needing more work to my eye. 5

The High Way
by sfalice

Comment:
Interesting near-abstract shot. Such images, I think, depend for most of their effect on compositional ideas (and not necessarily simple ones), and i think this desn't quite do enough for me: the various balances throughout seem a touch off - colour, and shape ... I think it's far too heavily dominated by that grand flat dimpled plane running from bottom to top, which releggates the other angles and shapes to incidental elements, rather than encouraging the eye to depart and return from what must be the central 'subject' - the primary visual component - of the image. The inevitable phenomenon of leading lines with such a blatant use of the challenge idea invokes compositional phenomena that simply can't be so easily dismissed: when there's nothing else, our eyes will follow as they are lead. Here, that is just too close to the edge of frame for them not to fall over, out of this world, and on to the next image. You don't entrap me here, though you nearly could. 6

Poof - Into thin air
by Tikicharm

Comment:
Shots like this are so dependent on your viewer's precise set-up, that I think it's difficult to be sure what exactly you were after. I see a vague roadscape with those lines, but a touch brighter and I see a skyline etc., a touch darker and I see only the hint of a road. Working with such very subtle graduations in the shadow areas is, I think, unlikely to get you a reaction you can really rely on.

For me, it has the beginnings of an impact, but the muted nature of those surroundings confuses things.

Up Into the Mist
by peecee

Comment:
Nearly a nice shot, but the burning-out of the mist areas is hugely annoying, and not necessary, though admittedly it's a difficult situation to deal with. Besdes which, good compositional elements, especially the sweep of that road through frame, and good colour and exposure (though I still wish you'd had to bring that back, rather than losing control of the sky like that). Good tones. 6 - burn-out loses you a couple at least :-(

Going down the hill
by MotoCycleBoi

Comment:
Almost greetings-card quality, this - blatant message, though not made to seem mournful, as there's a hint of humour in the guys' steps. Great scenery, although i would have shot to be able to crop out the burnt-out sky, which is always horrible to this eye, when without reason (that I can discern, at least). I would have loved to see it shot ffrom a touch further right, just to separate them from the drop of the hill a touch, they're so nearly in front of it this way, and it crowds the composition a little, and allows no sight of their faces. A bit simplistic to really engage the attention, but rather well done nevertheless. 6

Not a bowling alley
by Tuckersmom

Comment:
There are a couple of things I really like about this shot - the graininess, the crazy reflections along the tops of the walls. It's well done - has that dark, bizarre near-science-fiction element off to a t. But it's just a little, well, perhaps obvious, to me? The very rigidity of your composition takes away from it's impact for me. Perhaps I'm just a touch bored with the balance of interesting and obvious that seems to be required around dpc, but I'd like to have seen a slightly more intriguing point of view here, or even a more intriguing crop; perhaps even if you could have got the camera higher, taken the vanishing point up in the frame, it would have less four-square than it does. Nevertheless, far more interesting than most I've voted on so far.

Typical Dutch Coutry Road
by morpurgo

Comment:
The stray head of grass is really annoying here, and surely serves no great purpose, but the thing that gets me is the lack of punch overall in the colours - just as the sky is washed out, so are the greens, becoming close to yellow in many places. The angle of shot you've chosen strikes me as odd - almost everything is in the left side of frame ... I find very little from image right that adds to the impact of this shot. Cropping out (or simply missing) the top of the nearest trees is a cardinal error, especially as there is plently of room at bottom of frame you could happily lose. It seems like a shot that is taken of a scene you know fits the challenge (and indeed, with great potential for a good photograph), but it really doesn't show much insight. That avenue of trees might make a fabulous image if you got in amongst it, and had it converging from both sides of frame, with a low evening light through them. contrast is lacking too - even sorting that out would add enormously to the impact of this shot. Sorry to be critical, but it's what I think. 4