Training for the Show
by Neuferland

Comment:
The extremely tight crop (or frame), unfortunately eliminates features of both horse and rider. While the flash appears a little harsh on the horse\'s face, it lacks range to distinguish the sleeve (and possibly the rider\'s wrist and hand) from the jacket.

From an equestrian point of view, a better perspective would be one including, at least, the rider\'s hand and the course of the reigns. This would reveal more of a relationship between the two beings. Ideally the reigns would flat and untwisted also, showing no tension.

The rider\'s hands, here, levy a visible effect on the horse\'s mouth. The position of the bit substantiates the evidence of a hard hand. The horse\'s eye seems to register and reflect this as much as the bright proximity of the flash.

Its head carriage is very high, too, for what appears to be a fairly green horse, but not too unusual for an Arab, certainly.

Equestrian shots, in my experience, are one of the most taxing and difficult of all. Not only does the photographer have to master his/her craft, he/she needs to have a fundamental understanding of horses and the sport to render a -telling- shot. Needless to say, to provide all this while having to battle poor light and changeable conditions which are in constant flux is no picnic.

The thrill and the thing to look for here, IMHO, is a split second of harmony between the two, a kind of suspended animation, which few recognize and even less can capture.

Dissapearing Wetlands
by ellamay

Comment:
A fine image and a worthwhile concern. The wall of cedars (?) in the background is subtle enough, through the fog, to miss.

Because of this, the diffusion of tones toward the background, I would consider including a little more of the better defined and more vivid water plants in the very front row, if the composition by thirds tolerated it.

The misspelled title is an unfortunate slip.

Time Stands Still in the Rural South
by dagaleaa

Comment:
A well-crafted nostalgia with sufficient visual evidence of software manipulation to appeal to those with a preference for a -natural- image (the blur appears more intense in the darker fields of the image).
While there are several points of interest, the choice the tricycle as the primary subject is absolutely charming. The crispness of detail (i.e. the chain hanging off the wagon) delightfully discernible in the background provides an amazingly real depth to this picture, a fact also reflected (literally) in the cool tones of automobile chassis (foreground) and the warmer ones pervading the background.

Although a compromising composition (centricity and division into near-thirds within a very narrow horizontal crop), the image maintains an impeccable balance (between light and dark areas).

While the nostalgia found and created here suggests an easily available aesthetic appreciation, the image (via emphasis on a child's toy), nonetheless, evokes emotion and holds some historical interest.
My rating > 8

Along the peer
by jjbeguin

Comment:
I'm wondering if the spelling (-peer- instead -pier-) is deliberate?

Cold Weather Eagle
by zimmanj

Comment:
I believe this could be a great image but really wish it were -much- larger (also to be able to comment intelligbly).
What appears to be breath drifting away from the eagle's head, would make this a worthwhile capture indeed.

[no rating]

Nemo: The Truth About Clown Fish
by KING

Comment:
[fish pl. = fish]

Gaggiano, the banks
by paolobnr

Comment:
Sheer delight.
The black and white gives much emphasis to the markedly strong compositional aspect, while, at the same time, providing a good range of tonal gradation. This is especially enjoyable in the layers of haze filtering the sunlight.

The close and progressive association of pronounced contrast (the water's edge) with such light and subtle finery as evident in the line of trees is very well rendered and, as such, a rare thing indeed.

Due to the moment (! - and the timeliness of the shot), everything is in flux, except the pin point sun. Despite its minute size, it provides a pronounced anchor to a style of composition, many viewers may not be prepared to embrace without it.

-On a personal note, it is precisely the compositional vision illustrated here, I recognize as something I have come to consider as an integral part of my own work. I say this, because I feel as if I am approaching this image with an odd sense of familiarity and a kindred bias.

Because of this, I want to add a few negatives ;-)

ΓΆ€ΒΆ The lower part (body of water) could, IMO, loose a few mm to soften the format and suggest the sun's position lower than it is in the current crop.
ΓΆ€ΒΆ The horizon, if the fields are the measure, has a slight clockwise tilt.

Message edited by author 2004-01-21 00:10:11.

The "strangels"
by cristiano79

Comment:

Originally posted by Neuferland: Originally posted by zeuszen: ... 'strangles' denotes an infectious disease afflicting horses. Even as a corrupted colloquial term for 'strangulation', I cannot, for the life of me, find a remotely sensible application here... ?? Strangles = Strange + Angels. Deannda Does that help? :)

Tremendously. I should be that bright! ;-)

Orderville Canyon
by dsidwell

Comment:
Magnificent and inspirational.
Great choice for a subject, examplary black and white. -(I grow restless taking it in).

A Snake in the Grass
by ellamay

Comment:
The wonderful naive illusion created here is rare, to say the least.
On first sight, the image appears to be one coming out of a box of crayons, if not straight out of a fairy tale. On closer examination, the apparent -flat- feel, however, yields considerable depth. When we resist the decoy of the elaborate lattice work of twigs and branches obscuring a clear view of the ground, the trunks of trees become visible alongside numerous tufts of fern fringing a winding path (?).
Since no texture is given anywhere on its course, an allegory of a creek or brook is equally established, while the apparent birds' eye perspective is quite incidentally concealed by the proximity of the wicker work.

The magic of this capture, IMO, derives from a rift between the impression of an immediately obvious naivity on hand hand and the complexities obsctructing such a view on the other. The extreme point of view, it seems, makes full use of its vantage and has, I feel, laid out a picture which appears to have composed itself. The undulating -snake-, I discovered, leads the viewer precisely in, through and out of the image.

Straining to add something negative, I'd wish for a little less of some very light greys and blown highlights in and along the twigs and branches. How to accomplish this, without effecting that which I cannot fault, is something this image has made me forget. ;-)

> 9