The Road Goes On by milesyg (26)
graffer (1800) 2011-08-21 9:09
Hello Miles, Another well composed picture from your Spanish trip. The snaking road is a good lead in to the picture and the soft colours of the browns and blues work well together. Is this a valley artificially flooded to create a reservoir? I think that a bit of tweaking of the levels might give a bit more impact. I have done a WS for you. Kind regards, Graffer- [workshop] [compare]
A Butterfly's Window by milesyg (26)
graffer (1800) 2011-08-21 2:38
Hello Miles, This is a very fine picture. The moderate aperture has produced good sharpness on the butterfly [swallowtail?] and allowed the distant mountains to recede into a soft blur. The butterfly and the dry looking plant it is resting on, lie close to a vertical line of thirds. The blue of the water is subtly different from that of the sky – both colours nicely complementing the yellows of the left hand side of the picture. The small grass head at the right hand side, although relatively small, is a very important element in the balance of the composition. Excellent Kind regards, Graffer.
Celebrations by milesyg (26)
graffer (1800) 2011-07-25 5:45
Hello Miles, First of all welcome to TrekEarth. I am sure you will get a lot of pleasure out of posting photographs, writing critiques and receiving help and advice from other members. You will also find that it can become very addictive. From your note you are obviously well aware of the importance of the rule of thirds in composition, a “powerpoint” being the position in the image where horizontal and vertical lines of thirds cross. Interestingly the sides of some the closest glasses follow vertical thirds lines too. Although at first sight one might complain that the tumblers hold no contents for the thirsty drinker, their emptiness allows a progression of distorted images of the glasses behind to lead the eye into the depths of the image. A good composition: the coloured straws in the three nearest glasses lie almost parallel to each other and form a neat geometric contrast to the circles of fresh cucumber at the rims. The image is clear and sharp. I look forward to seeing more of your photographs. Kind regards, Graffer.
It was the best of times, it was the.... by tyro (25702)
graffer (1800) 2011-07-22 2:00
Hello John, You have often mentioned that light is the most important part of any photograph. Here is a marvellous example of that. Light streams through the windows on the left - reflecting off the floor and casting faint shadows of the wheel spokes. It's also coming in from an unseen source on the right, lighting up the side of the wagon. Thirdly coming from behind it illuminates the sticks and other debris at the left corner of the image. I also like that old crumbly brick at the bottom right corner. No critique of mine could neglect a mention of thirds and its importance in composition - the rear axle of the cart lies nicely on the lower horizontal third and the left vertical third closely matches the edge of the nearest window. This is another example of the way that a simple palette of colours - rust brown, blue and white, makes a very satisfying image. A very fine picture! Kind regards, Peter.
Number One, Ciutadella by tyro (25702)
graffer (1800) 2011-07-20 4:35
Hello John, Very powerful echoes of Mondrian here! A strong composition with the horizontal and vertical lines conforming neatly to the rule of thirds. The limited palette of colours here – browns, oranges and whites, makes for a satisfying image. The upper/side natural lighting has thrown some interesting small shadows and the texture of the wall surface is well brought out. As sharp and crisp as ever with your photographs. Kind regards, Peter.[+]
Derwent Water from above Ashness Farm by tyro (25702)
graffer (1800) 2011-06-16 7:43
Hello John, I've been looking forward to seeing the results of your weekend trip to the Lake District. And of course, the images from your new camera. As a composition this picture ticks all the boxes. The end of the lake in the distance sits neatly on one powerpoint and the stone steps up to the gate lie close to the diagonally opposite one. Also, I like the way that the gate is very slightly ajar, an invitation which leads the eye on and up to the top right corner of the image. Reading your replies to the critiques from Denis and Gunnar, it seems that you are slightly disappointed with the final result. I wonder, …………… if the sun had been shining a little more strongly on the foreground, would the perspective effect have been more satisfying? Anyway, I very much like the picture. Kind regards, Peter.[+]
The Newspaper Reporter by tyro (25702)
graffer (1800) 2011-05-29 3:25
Hello John, I'm surprised to see that this image has attracted so little interest so far. I was particularly impressed by the composition here – the interplay between the two subjects is very strong – I can see one of my favourite inverted triangles in the lines formed by the gaze from eye to eye of the two men and the journalist’s forearm holding the microphone. The black strap across the white shirt forms a neat parallel too. I've done a Composition Analysis WS for illustration. It seems that you had a very enjoyable week in Menorca. Kind regards, Peter.- [workshop] [compare] [+]
The Road to Talla Linnfoots in Winter by tyro (25702)
graffer (1800) 2011-01-09 3:12
Hello John, For comparison I copied and pasted this and the earlier image side by side – see WS – [where I have also superimposed thirds grids]. Interestingly, the earlier image progresses from a light foreground to a darker background, and this one does completely the opposite. Which one works better? I think I prefer this latest, more panoramic image compositionally: the line of the further end of the loch follows the lower horizontal line of thirds, and the distant small wooded valley runs down to the loch at a powerpoint. The upper horizontal third lies where the sunlit snowy mountain top meets that lovely blue sky and the dark diagonal edge of the mountain slope at the right stands out against the sunlit mountain immediately behind it. The road makes a strong lead-in at the bottom left corner, and the autumn colour of the trees provides a warm counterpoint to the rest of the snowy landscape. A fine crisp winter picture. Kind regards, Peter.- [workshop] [compare] [+]
Catch the Light by Glint (6171)
graffer (1800) 2010-11-08 5:36
Hello Bev, It's interesting the way that the tree shadows converge as they are thrown across the field. I suspect that your own shadow is on the nearest fence post. There are some fine autumn colours set against the cool blue of the clouded sky. That dead tree is neatly placed on an intersection of thirds, and the further fence line makes a good lead-in towards the distant sunlit house, giving a good sense of perspective. Lovely light and shade throughout the image and a very satisfying composition. Kind regards, Peter.[+]
Autumn at Balmerino by tyro (25702)
graffer (1800) 2010-11-07 4:49
Hello John, I thought I would go back to see what I wrote as a critique to the previous picture. Was it really two years ago? Time flies! Another very fine picture from one of your favourite stamping grounds. Although the shoreline of the distant Tay is bang in the middle of this image, the composition is very satisfying. The twin lines of the track across the field, and of the stubble, make good lead-ins towards the water and the low hills in the BG. Fine autumn colours in the trees too. The other thing I particularly like here is the fan-like shape of the clouds at the left, which echo the pattern in the field. Apart from the difference in the clouds, all that I wrote then still holds good. The tractor tracks are slightly different in the latest picture, and, starting nearer to the left bottom corner they make a slightly stronger lead-in - pointing the eye directly towards that main clump of trees in front of the water of the Tay. The autumn colours are stronger, as seems evident throughout the whole country this year. Excellent! Kind regards, Peter.