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Great shot, at first I thought I would have liked it better if the girl had been looking at the painting, but after studying the photo, I get the feeling that she has studied the painting and is now in deed considering its attributes. Well Done again your colors are very nice and the framing is flawless.
Bill,
Feel Free TO EDIT My Photos, But Please Tell Me Why
I have gone over to the dark side, no more film.
Canon T2i, 18-135 IS
Digital Point&Shot - Canon Powershot A470
Tuna, I know you are not fond of my critiques but critiquing helps me more than it helps a pro like you so I will comment.
I think this is very close to being another of your great shots.
A few things do bother me. One is the baseboard and what looks like a low railing running through her head.
I also think the shadows behind her rump and under the bench are a little too dark. I'd like them to be a little lighter, not too much, but just enough to see a bit more detail.
The vent on the wall will probably be mentioned but I actually rather like it there.
I like her postition and the picture and that she is looking to her left instead of at the painting.
Tuna, I know you are not fond of my critiques but critiquing helps me more than it helps a pro like you so I will comment.
I think this is very close to being another of your great shots.
A few things do bother me. One is the baseboard and what looks like a low railing running through her head.
I also think the shadows behind her rump and under the bench are a little too dark. I'd like them to be a little lighter, not too much, but just enough to see a bit more detail.
The vent on the wall will probably be mentioned but I actually rather like it there.
I like her postition and the picture and that she is looking to her left instead of at the painting.
Yes, yes...but what about the photograph itself? Your critiques are focusing on the straightness of the picture, objects within the picture that aren't within the control of the photographer and mostly have nothing to do with the image itself, differences in contrast, darkness, lightness which are variables between multitudes of monitors, etc., etc.
Step back and learn to look at the image as a whole - not as a set of seperate parts. As an entity. A "two-dimensional" representation of a three-dimensional reality. What succeeds or fails at that level?
For instance;
"This image attempts to succeed through an often used gimmick where mimesis plays a large part. I can see where that comes through fairly quickly through the proximity of the two main participants (girl and painting) and their similar postures - and it's OK for that. However, it doesn't rise to a higher level as it could - that might have happened if there was something else within the bounds to indicate a stronger, more direct relationship between the two elements.
Tuna,
I rarely comment on your photos because most of the time they are so technically and compositionally perfect that there is really nothing to critique - one either likes it or not.
This one especially impresses me for the creativity of the scene, and the fact that from any other perspective, the shot would be lost. You had to be exactly right there at exactly that time. The brilliance of this shot is not immediately evident; one has to study it for a moment before the lightbulb goes off. I really enjoy shots that make me stop and think for a second. It's all the nuance that makes this shot so good. The few glaring problems (like the baseboard) are easily overcome by all the subtle similarities between the mirrored subjects.
quote: "Step back and learn to look at the image as a whole - not as a set of seperate parts. As an entity. A "two-dimensional" representation of a three-dimensional reality. What succeeds or fails at that level?"
The whole is the sum of the parts. The baseboard/rail running through her head are a major factor in my viewing. Others think not but I can only comment with my thoughts.
You are very good at capturing moments and I know you have to be able to see the opportunity and shoot before someone or something moves. Sometimes it works and sometimes it doesn't. It doesn't work for me this time like many of your photos do work for me..
Obviously, from the responses, others don't have an issue.
When I first viewed this photo, I thought: another excellent example by Tuna. I didn't see the railing, but I immediately saw the mimicry of the dynamic and the static. I thought that I have no idea on how to see like this, and wish that I could.
Now after Frog's critique, I now see the railing through her head, and an excellent still life with the dynamic imitating the static. I never noticed the rail/baseboard until Frog's critique. It doesn't really change my opinion of the photograph, it's just something that I now see that I didn't before it was mentioned.
Rule books are paper they will not cushion a sudden meeting of stone and metal. --Ernie Gann-- What is a cynic? A man who knows the price of everything and the value of nothing. --Oscar Wilde--
when i first looked at it, the baseboard didn't even appear to me. I just noticed the composition and mirrored elements, and instantly liked it. In fact, I didn't even notice who had posted it until I looked at the image and knew exactly whose image it was. This one is one of my favorites from you.
I had the wrong sort of "Mime" stuck in my head - the hoop-shirted, white-gloved, white-faced mime artist.
It took me a while to see you were mimicing the mentor, now I get it.
Technically there's lots of things that look wrong, artirtically, it's a different thing altogether.
I too didn't notice the baseboard or the vent at first. I am still amazed at your ability to shoot at such low speeds at 100iso, it makes me want to go out and practice. I also admire your dedication to the art. I think the vent is a small issue, the older I get the less cloning I like to do and like to try to shooting around things or just say to myself, "It was there so what make it work."
I am like Barney Fife, I have a gun but Andy makes me keep the bullet in my pocket..
I really like the counterpoint of the modern sitter admiring the art of the sitter, nicely captured and the fact that she isn't a perfect representation of the sitter makes it that much better.
It is a shame that the protective rail runs through her head at that postion but sometimes you have to take what you can, but the rest of the composition works for me.
Roger R.
"I hope we will never see the day when photo shops sell little schema grills to clamp onto our viewfinders; and the Golden Rule will never be found etched on our ground glass."from The mind's eye by Henri Cartier-Bresson
My Web Site: www.readingr.com DSLR
Canon 5D; EF100-400 F4.5-5.6L IS USM; EF24-70 F2.8L USM 50mm F1.8 II; EF 100 F2.8 Macro Digital
Canon Powershot Pro 1; Canon Ixus 100
I really like the counterpoint of the modern sitter admiring the art of the sitter, nicely captured and the fact that she isn't a perfect representation of the sitter makes it that much better.
It is a shame that the protective rail runs through her head at that postion but sometimes you have to take what you can, but the rest of the composition works for me.
Roger R.
"I hope we will never see the day when photo shops sell little schema grills to clamp onto our viewfinders; and the Golden Rule will never be found etched on our ground glass."from The mind's eye by Henri Cartier-Bresson
My Web Site: www.readingr.com DSLR
Canon 5D; EF100-400 F4.5-5.6L IS USM; EF24-70 F2.8L USM 50mm F1.8 II; EF 100 F2.8 Macro Digital
Canon Powershot Pro 1; Canon Ixus 100