Summer Song
by charmayne

Comment:
Congrats on the ribbon! I loved this one.

Feline love
by arpita

Comment:
Way to go Arpita. Fine shot!

Far From Home
by scalvert

Comment:
What?!?!? No multiple images? Lawdy me! Congrats on a well-deserved ribbon.

Pines
by Elemmennope

Comment:
extraordinary texture! well seen! Perhaps processing for a little more luminosity would help kick it up a notch.

Wall of Glass
by Elemmennope

Comment:
The tonalities/luminance are lovely here. The reflection and the figure add a lot. The terribgly skewed perspective isn't helpful, though. Have you tried photoshop's "skew" tool to clean it up?

The American
by Elemmennope

Comment:
This is REALLY sly! One of the best titles I've ever seen. The image is very nice too, a unique perspective. I don't care for the heaviness of the framing, myself, but that's just me.

Colored Reflection
by Rikki

Comment:
What groggy said: you got to desat the exposed part of the rock as well. Then you're good to go.

It's a nice shot. Technically, I am having problems with the vertical shadow on the right wall falling onto the adjacent plane. It's impossible to tell where one wall ends and the other bgegins, so the juxtaposition of these two planes is fuzzily-expressed. Had the light been allowed to come around a hair more to your left, you could have it raking what's now the shadowed surcae, and this would be MUCH more expressive of the shapes & volumes here.

Palm Sunset
by aboutimage

Comment:
The horizon is not level. If you want to maintain the vertical orientation of the palms and level the horizon, do this: drag down a guideline to the horizon so you an see true level. Then "select all" and choose edit/transform/skew and actually skew the image up on the right side until the horizon levels out. Crop as needed.

This iamge, too, is seriously oversharpened; you can see distinct haloes around the dark/light intersections. You need to fine-tune your shartpening process. One thing that helps is to blow the image up so a light/dark intersection is prominent at significant magnification; then you wille asily be able to see when the haloing starts. It also helps to create a new layer from BG, name it "sharpen", and do your sharpening on that layer; youc an then fade the layer as needed to get the perfect amount of sharpening, if you oversharpen a tad to allow fading. It's what I do.

R.

dpcBorrego.jpg
by Bear_Music

Comment:

Originally posted by rikki11: I personally think that the building is a tad too small. Foreground is good but the plant on the left is a bit distracting. I would love to see how the interior shots came out. Did you ever take long shots at an angle so as it isn't a straight shot elevation of the building?

Yeah, we had like 50 shots of this project. This was one of the "environmental" ones; we had others with less distracting plant elements. Unfortunately I lost ALL my portfolio, and all my negatives, in a basement flood while we were on vacation, some years ago. This is one of a few prints I scavenged from former clients as keepsakes. I have no interiors of this one, sadly. We shot a ton of them, I just don't have copies...

Fisherman at Dusk
by Bear_Music

Comment:

Originally posted by ubique: Originally posted by lots of folks: "Too purple, too pink, blah, blah, blah ..." Bullshit. Why should every photograph exhibit colour fidelity? This is dusk. Dusk is evening. Evening is velvet. Velvet is this colour. I don't want to go over the top here, especially as Robert says it's a bit of a throw-away shot for him, but PLEASE have a look at a couple of Van Gough paintings ... do you imagine Vincent's colours and textures are high-fidelity?

Agreed, in principle but not int he specific instance; after all, I'm well-known for extreme color-throwing (I wish it were an olympic sport), but this is SUCH a botched-up job. I got no problem with the colors per se (they are pretty much what I wanted) but the execution is abysmally bad IMO.