... behind that old empty mill
by Gnarf

Comment by karmat:
the focus looks a bit funky to me. I can't tell if it is noisy from bumping the exposure or oversharpened. The composition is good, though.

... behind that old empty mill
by Gnarf

Comment by emorgan49:
The pond is frozen and the cracks are in the ice? Where am I supposed to look? Is there a center of interest? The bridge? but it is so far up in the picture, the ice water? it doesn't hold my interst yet it dominates half the picture. this leaves me compositionally confused. what lines should my eyes follow so that I don't just think "boring" and move to the nest photo. Perhaps there is a sublty here that I am missing? If so, it isn't a good picture to enter in a contest like this where most voters spend about 10 seconds to give the image a number. Techincal excellence and post processing are not enough. Why is it that you want me to look at this picture?

... behind that old empty mill
by Gnarf

Comment by dahkota:
image busy-ness compacted into very small space. Vast empty bottom really does nothing as I can't focus on any of the bits and pieces. Not sure this is the best composition here. Lighting and color balance work well.

... behind that old empty mill
by Gnarf

Comment by xXxscarletxXx:
Is that.. ice? seems really cold 6

... behind that old empty mill
by Gnarf

Comment by KarenNfld:
Nice scene, image doesn't appear to be quite in focus. Exposure could use some work, whites are blown.

Once a Fence
by Gnarf

Comment by posthumous:
A commanding composition with a sense of the surreal. 8

Once a Fence
by Gnarf

Comment by Alain:
B&W work really good here. Well done.

Once a Fence
by Gnarf

Comment by greslizzz:
too symetric maybe but I like it 7

D
by Gnarf

Comment by Gnarf:
thanks for the comments. nice to see that someone liked it ;)

D
by Gnarf

Comment by zeuszen:
A remarkable image, well seen and so nearly well composed, I feel prompted to comment.

As the horizontal division of the portrait format into two equal panes appears naturally dictated by givens of the subject (and its parts), the remaining negative space in the upper half could (and, to my senses 'should') be trimmed to suit a 1/3 - 2/3 proportion in this section. This (IMO) would introduce a tension (a more dynamic force) to the image which is not there, if the two sections remained balanced (as presented). Also,

the roof line of the wall is slightly, albeit critically tilted, which could easily be corrected by rotating accordingly.

A little dodging (or some other means of revealing the deteriorated outlines in the middle and upper half, especially toward the left) may benefit a clearer and quicker appreciation of the compositional geometry which is so superbly ordering the chiaroscura on the walls (both bottom and top).

A remarkable image, worth more than words, nevertheless.