Luminous Landscape Forum
The Art of Photography => User Critiques => Topic started by: Slobodan Blagojevic on August 19, 2013, 06:38:39 pm
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New York, Times Square:
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This look do you have if you're caught in action: "What, me? Never..."
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You're on fire lately Slobodan.
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You're on fire lately Slobodan.
Naah... just visiting New York, where someone told me: "You can't make a bad photo in NY." ;D
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Well, so far, so good. Keep shooting, Slobodan.
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Naah... just visiting New York, where someone told me: "You can't make a bad photo in NY." ;D
I can, but you can't! ;D
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Well 'seen'!
Mike.
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great shot
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The reflection in the NSA's eye looks like the eye is looking though one of the windows of the apartment of Richard... I mean Edward... right?
Cheers,
Bernard
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It's a fine shot, Slobodan, but it strikes me as sad that someone would do something that hokey to a building with interesting architectural detail. But, well. . . I guess it's NYC doing its thing. I'm sure Weiner will substitute pictures of his anterior proboscis once he becomes mayor.
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New York, Times Square:
Now that I like.
I think I might have been tempted to frame out the blue corner top right, but other than that tiny quibble, t'is a cracker. I imagine this would also look very good in high contrast B/W.
Dave
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... I think I might have been tempted to frame out the blue corner top right... I imagine this would also look very good in high contrast B/W.
I actually have a frame without it, as I was initially thinking the same as you. But then I remembered one thing I picked from classical painting composition rules, i.e., that a picture should also have an exit, not just entrance. In other words, not just an entry point, at which the eye will enter the picture and start exploring it toward the main point of interest, but also an exit point, to leave, after satisfactory exploring it. Without it, the viewer might feel constrained and trapped. A little patch of blue sky is often used in classical paining for that purpose.
On a less serious note, perhaps you are right after all. Perhaps it fits the narrative suggested by the title better if the viewer would indeed feel trapped, constrained, claustrophobic, anxious, with no exit, no way to go, and nowhere to hide from the omni present and omnipotent prying eyes ;)
As for b&w, yes, it could work well that way too. I just found the presence of the gentle, innocent, baby-blue cast too relevant for the narrative to resist. I mean, a proper surveillance should present itself as such, innocent and benevolent, in order to be accepted, right? ;D
Back to serious, I do have another version with much more color, almost graphical in nature, but I felt it robs the image of its original meaning:
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You made the right choice, the first one tells a much more coherent story. It's first rate.
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You're on fire lately Slobodan.
Yeah, between this and the chapel/bar (though I would have liked a slightly looser crop on the latter), no shit.
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Yes Slobodan I agree, the first shot is much the better of the two, the red of the umbrella is just too eye grabbing (no pun intended). I have nothing against the small blue corner exit, as I don't find it detracts from the quality of the image one little bit, so I suppose all I was meaning to say is, I know I would have felt the need to frame it out, but then I am a bit of an old pedant in that respect it seems ;D
Dave
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... I would have liked a slightly looser crop on the latter...
Right. Me too. But try standing in the middle of a NY street, trying to exclude all the passing traffic in front of the church, all the pedestrians constantly criss-crossing, people going in and out of the church (and opening the door where the bar sign was reflecting), and having your daughter ask "Are you done yet?" and you would understand I was happy to get away with whatever I could ;D