Curvy Parking Deck (Color)
by levyj413

Comment:
clone out the car at the bottom right, it draws too much attention to the edge at the very end of one of your lines.

Verticals
by levyj413

Comment:
I'm thinking that a bit of keystone correction might be needed, though it might be an illusion created by the darker carpet at the bottom.

Deenyce
by gaston

Comment:
This would make kiwiness proud.

The Offering
by Jaded_Housewife

Comment:
theres something wrong with you.... really. (name that movie :P)

Cindi-10.18.2
by idnic

Comment:
I'm with crystal on this one, intended or not, there are some definite psychological cues at play here.

The Four Horsemen - M05
by alfresco

Comment:
oh come on! people couldn't tell this was a fork? maybe I'm just mensa material over here.

dang, that puts the DOF back into Llama now doesn't it? Wait, theres no d, o, or f in Llama. :P

Tomboy?
by JulieG

Comment:
Classic, I won't say that you should have won blue (because I love Lesley's shot), but IMO, better than the red in creativity and craftwork.

let's levitate
by annah

Comment:
I love the tilt-shift looking effect on this.

Day 3 : Hershey Atoms
by ShaneBlake

Comment:
reaction: what the?

read title: oh, that. cool.

Seagulls in Flight
by madhatter

Comment:
Hola from el-critique-o clubbo.

hmm. what do we have here??? and intersting scene, a beautiful location, a story, action. why didn't it work??

shapes and lines, man. well, and thirds too.

There's a static feeling in the composition because of the strict use of striped thirds here. Having all of the birds in the center of the rectangle, in a sub-rectangular form gives the connotation of the flight being boxed in. I kind of get this sense that they want to fly off into the sunset, but they can't. I think that subliminal shape sets this feeling into action.

More shapes. The triangle is always a strong compositional form, but it's prominence is hidden by the flight of the birds, and lessened by the birds intersecting the sides of the shape. The placement of the triangle as a powerful object (and rock, more power) also adds to the permanence of the center of the composition.

The foreground was mostly unnecessary, I think. Removing it and cropping the ground (I disagree with Jeremy) allows for the mind to be drawn into the skies and think more freely, and of the freedom of flight. This also removes the distracting (I think) detail in the sand, which further cements the birds flight to the ground. Zooming in further to exclude the ridge line on the left would help even further, leave the only ground elements with less visual weight, and the triangles of the rocks pointing into the open skies.

If-only ending thought: wouldn't it have been great to have the sun setting/rising just between the two rocks, and have all the birds silhouetted?

-Steve