Critique
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142 creative works found
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www.eyelightphotography.com
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André’s creation: eclectic pleasures
by Maxwell EdwardBlack and white keys, saxophone, guitar, everywhere. The music has much more magnificence than can be tried to be explained through words…
Black and white keys, saxophone, guitar, everywhere. The music has much more magnificence than can be tried to be explained through words. This jazzy rendezvous has always been André’s favourite ear-food. He just loves the way its beauty, splendour, radiance is ‘unleashed’. André stares at the canvas for over a dozen times. Here he is staring at the blank space which is future marvel…or was it to be past marvel? Had he missed his chance, missed the boat which would have sailed to sentimental stardom? He refuses to collaborate more than a sentence for any one idea. Any idea that deserves a sentence must deserve no doubt. Any canvas is only worth the greatest ideas. Two André’s exist; though only one at any one time. The withdrawn analytical front, designed for most occasions. On rare occasions the other character may appear, the intensive, massively determined André who acts on impulses. Impulsive André must be begged out. A Pandora’s Box of surprises, his job will at least never cease to astonish. “Dearest André, Through years have you befriended my son Louis, so therefore I am offering an opportunity to benefit both of our interests (with intent towards your gain). Litton inc., my company has stepped up towards mainstream success. We require visual arts for our newly bought edifice. I understand you have been painting for the eight years since high school. To your discretion I would like to require a painting; just one will suffice. I would like something vibrant and colourful, yet deep and meaningful; Contemporise to your own vision. Much thanks, Dr. Raymond Fonck.” The commissioned paper lies stuck on the wall. André has read it. Now it is time for the future. It has been too long sitting around (or rather bouncing around); too get too much productivity from anything. Someone once said to him that anything is good experience. True perhaps, although he prefers productivity, especially in a time of intensity such as this; three days left until confrontation. His vigilant eyes stroll around the room, searching for advice. He is not bored, nor has he painters block, for such a term does not exist and will not ever for him. His eyes strike the clock. The clock glares 5:48 pm back. What a disgusting fierce look it has. Not 5:45, nor 6:00 and only one uncomfortable minute in-between. For at this time these uncomforting three digits add to the frustration in the actual time. “Aw!” André suddenly realizes the importance of the time. It is the one factor which never seems to be on his side but actually encourages his total progress. It is an epiphany like that of a mother to the newborn. André decides to let his hands take / control. They are the secret key, (sometimes the gatekeepers of unleashing impulsive André) His dominant left one picks up the brush (over time it has made up for its fault of statistically losing him seven years). His right hand decides to lose cognition. It dips itself into a little puddle of Sangria oil paint muck. Than it flies onto the near-centre of the canvas, smeared diagonally. His left hand takes initiative once again, waving lines of smudge to and fro. Right hand brings more paint to its destination. Myrtle, Indigo, Olive, Magnolia…and no, not that…Yes, yes, even black! (Well seal brown to be precise). All of these contextually beautiful colours unleashed! There are no thoughts in André’s mind now. This is impulsive André now; organised thought is of little importance! That colour is important here. This colour is unimportant there. A few lines of any colour are important right here or there, but perhaps a darker colour is better. More negative space up and down the edges. Shape is forming. Lines are bolding. Complete non-representational form is diminishing. Visualizations; the visualized images in mind are being…unloaded bit by bit. It is coming about. What is it though? No one knows. If anybody could guess it definitely would not be André. André knows he has the power to bring out the reality in it though. In a seemingly paradox situation he must not connect to reality at the moment though. Now, after these hours of painting, André is in the painting. He would not know it has been hours besides the constant glare of the illuminating digital clock staring from across the room; it unconsciously processes its recognition into André. The phone screams out, ‘br-ring, br-ring!’ Like the other external matter it creeps into André, until finally its screams become too annoying to ignore. It’s too late now…impulsive André has vanished; his conventional counterpart has replaced him. The phone persists though. André decides to take it (typical for his returned mannerism). He dives across the room horizontally attacking the corner where that nuisance phone lies. ‘Aw, aw, aw, aw!’ A tube of paint has squirt from underneath his stomach. Agonising that his material friend can be so painful at times (like any of his life long friends). He picks up the phone; only the tone. He has missed whatever, whoever it was. Once again, missing the boat… Now thought and all that comes with it has returned. Why now out of all times possible? There is only sadness, misery, all this escalated from these small miniscule misfortunes; all has turned to turmoil! What can one do, when feeling like crawling into a hole? His secret minor disorders such as his claustrophobia would prevent him from crawling into that hole, even if he had one. At the moment everything feels like one big hole. Not surprisingly André’s eyes begin doing the only thing they know to do in times of unrest; wander. It is impossible to ignore what is there; it has been there all along, yet has never been seen. It is beautiful! It is splendour! It is radiance!! It is interrupted by another scream of ‘br-ring br-ring’. André picks up the damn phone. Without contemplation he whispers, “Sir, madam, I’m very terribly busy, could you perhaps call back sometime?” A deep sophisticated voice replies, “Raymond Fonck, André. Listen, I need to know about the progress of the painting. How is it going; ready to sell on Friday?” Many emotions garner at the speed of light inside André allows these emotions to clash inside of him. The painting; it is beautiful, splendour, radiance! How could he give it away now, after an indescribable series of emotional contributions? It is something that has not been attempted before; yet it is new but the expression of old. It is everything, at the moment, hopefully containing more interpretive inoculations for the future. It is a subject, of just some time, yet it contains a collaboration of detail separated from time. It is…once again interrupted by screams, this time of another sort; the infuriating talking of man. “André. Are you there?” Feelings of great rebellion sweep André off his feet. He knows how he will revolutionize his life, because after all; this painting has revolutionized his thought already. “Mister Fonck. I am so sorry. Some things have come over me…a type of sickness…although I am sure you are not aware of this mad syndrome I am suffering due to it. Well to the point, I must say I will not be supplying you with your wanted artwork. Thank you for your understanding. Hopefully we can collaborate something in future.” André hangs the phone up without replies, without a stated understanding from the mister Fonck. Without even the knowledge of acceptance or approval from the mister Fonck…it does not matter. All that matters is this new painting, this contemporised vision. It is everything. Most importantly of all, it is…unleashed!
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This has been a while in the making… I just haven’t had any time to draw for myself!! Ink, watercolour and pencils on Canson illustration paper. / This work is licensed under a Creative Commons Attribution-No Derivative Works 2.5 Australia License
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Self-Critique Tutorial
by Simone ByrneThe third in a series of tutorials I will be writing. Not quite sure if anyone will find this tutorial useful, but I thought I would …
The third in a series of tutorials I will be writing. Not quite sure if anyone will find this tutorial useful, but I thought I would put it out there anyway. If there are any questions in relation to this tutorial feel free to post them here and I will answer them as best as I can. The page is in A4 size for easy printing. Have fun :o) Simone More Tutorials 9 Stop ND Filter Tutorial Levels and Curves Tutorial – Part One – Levels Levels and Curves Tutorial – Part Two – Curves Levels and Curves Tutorial – Part Three – S-Curves Levels and Curves Tutorial – Part Four – Anchored Curves Black & White Tutorial Basic Work Flow Tutorial
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Here are the details of an experiement with Painting with Light a couple of months ago. The edge of the guitar was traced with a small torch in a totally dark room. The photo is untouched except for a crop. EXIF details below: File name / IMG_2402.CR2 / Camera Model Name / Canon EOS 40D / Shooting Date/Time / 24/02/2008 20:17:07 / Tv(Shutter Speed) / 15Sec. / Av(Aperture Value) / F5.6 / Metering Modes / Evaluative metering / Exposure Compensation / 0 / ISO Speed / 100 / Lens / EF-S17-85mm f/4-5.6 IS USM / Focal Length / 17.0 mm / Image size / 3888×2592 / Image Quality / RAW / Flash / Off / White Balance / Auto / AF mode / One-Shot AF / Picture Style / Portlait / Parameters / Tone Curve : Standard / Sharpness level : - / Pattern Sharpness : - / Contrast : 0 / Sharpness : 2 / Color saturation : 0 / Color tone : 0 / Highlight tone priority : No
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Watercolour, Pencil – graphite and coloured. / Paper is two sheet of 400gsm watercolour paper (don’t usually pay for 400gsm but it was half price and i couldn’t resist) / View large to see the ants. Would love feedback on this one – all welcome – in fact i would rather have critique so that i can improve it. I have been staring at it for so long i can only see the problems. Please help!!!!!
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Fashion’s critique on Karl Marx and Communism
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Got a pretty spesh view from my place in St Kilda and have a “simple” objective of getting the relatively unique view of Melbourne on Google Earth. Round these parts there’s usually a mad scramble to the roof space when there is a spectacular sky, but I like the more somber light and skys. Would be interested in opinions about the merits or otherwise of this shot. A particular objective I had was to capture more than just a vista of the Melbourne CBD. Wanted to provide a sense of the look of the area surrounding Melbourne. (Thanks to everyone who helped out with comments on some alternative shots I posted earlier.) PS: But, as with all my shots, I’m always keen to hear opinions and suggestions on this shot.
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Help! I'm surrounded by beautiful Alaska and I'm not sure how to capture it!
by Jan TimmonsUS$4.66–US$33.25
Constructive comments sought, please. Since I love living here, I attach all sorts of emotional content to the beauty I see. Need a dispassionate viewer’s opinion. Does a landscape have an emotional content without fog or a glowing sunset? Chunks of ice float along Turnagain Arm. Second try using an overlay in the opacity/luminosity setting with Nikon’s Capture NX2 software, and a return to color Nikon D200 / Nikon 70-300mm 4.5-5.6G VR / 140mm / f/10 / 1/160 / ISO 100 / -0.33ev / manual exposure mode / monopod / shot in RAW The following is Byron’s photo critique guide: THE NEW IMPROVED PHOTO CRITIQUE GUIDE FIRST IMPRESSIONS - TECHNICAL QUALITY (out of 10 points) - / Settings: / Exposure: / Lighting: / Colour Saturations: / Focus / Depth of Field: / Sharpness: / Score: INTEREST (out of 10 points) - / Aesthetics / General appearance: / Emotional Content: / Storytelling ability / Creative communication of a concept or idea: / Originality: / Score: COMPOSITION (out of 10 points) - / Framing / Cropping: / Simplicity of Design: / Points of Interest: / Rule of Thirds: / Lines & Diagonals: / Balance / Use of Negative Space: / Score: GENERAL COMMENTS - Total Score : / 30
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A store mannequin that appeared to have an attitude, rather than be viewed seemed to be stationed to watch and observe.
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Critique Photo please. Was the 2nd commission Yesterday and wanted to see what people think before showing to the Client.
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started off doing his senior portraits pretty crappy / this is probably the best one taken from this room / re-shoot soon comments/critique much welcomed and appreciated / don’t worry if you have to be harsh / i don’t mind =]
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started off doing his senior portraits pretty crappy / re-shoot soon comments/critique much welcomed and appreciated / don’t worry if you have to be harsh / i don’t mind =]
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got some candid’s of nick / started off doing his senior portraits pretty crappy / re-shoot soon comments/critique much welcomed and appreciated / don’t worry if you have to be harsh / i don’t mind =]
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got some candid’s of Nick / started off doing his senior portraits pretty crappy / re-shoot soon comments/critique much welcomed and appreciated / don’t worry if you have to be harsh / i don’t mind =]
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PHOTO TIPS & HINTS - PHOTOGRAPHIC CRITIQUES AND TUTORIALS...
by BYRONA collection of photographic critiques by myself and other RB members which explain how certain Technical, Artistic and Compositional ski…
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This is a photo that depicts to me how quickly we can have everything taken away. Any minute the clear skies can change and just like that everything is different. I hope you enjoy the photo. Please let me know what you think. I always appreciate the critique.
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This is my boy Chip. I’m having trouble getting the focus on his eyes. Otherwise it works I think. If you have constructive criticism please post it in the forum here Proceeds from the sale of this will go to the AuCaDo Rescue Fund to help Australian Cattle Dogs in need.
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picture of a flower. old effect made y using sepia, bringing up shadows, edge blur, and a few more minor things. Any other ways to make a picture look ‘olden days’ then please, please critique this picture of send me a bubblemail. Canon 450D Tamron Dii 18-270
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Rome – June 2009. Taken from the Bridge of Angels looking onto the River Tiber. Please feel free to offer critique. Thanks for looking f6,3 / ISO 100 / 55mm / 1/160sec
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A tee for the cynics and sensible amongst us who are asking : WHO PROFITS? What I find obscene is the large amount of money collectors will make out of those images! This is my cynical protest! So you say I’m making money out of it too? Well I need money for a clothes drier (ours is dead) and new furniture (a new matress and office chair that will give my hip and back more support) and I dont make 50000 dollars per sale! Could some one declare my work to be controversial so I can make more money?
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Critique of Jonathan Medina's "Party of one"
by Lys •Party of one by Jonathan Medina...
Party of one by Jonathan Medina / / / / / I was lucky enough to be able to see this photo before Jonathan posted it, and I fell in love with it the first time. Love at first sight, I guess you could say :) / / This image is so empty, yet so full. A great example of minimalism, the darkness enveloping everything almost seems to be hiding secrets for the little thumb-nail sliver of pale moon. There is a slight hint of an object, perhaps a pole, leading from the moon down to the letter “c” in the melting sign that may catch your eye, if you’re looking for something, which you should be. The thick black of the night is something that arouses my curiosity, shakes my imagination awake, invites me to explore its cool air. / / Before I can turn away, the gritty green and mellow yellow of the half-eaten “Welcome” sign grab my attention and yank me to the bottom of the photograph. I notice it’s uneven, lopsided in its night time post, and follow it into the dark. “Come” is all it asks of me, as though I might be interested in something hidden and secret, perhaps something dirty and reputation-ruining. But whose reputation? The light’s? The night’s? Are there stars out there somewhere? Is there an animal? What will I find? It’s not welcoming at first glance, just appealing and almost commanding. The few colours represented in this image are also symbolic to me. The green only reiterates that I am “welcome” to revel in the peace of the night, but the yellow seems to push me away, as though it wants to hog the green and light all to itself. The slight glare of the stingy yellow warns me to keep my guard up. I can’t trust that everything will be alright when I follow the instructions it has so diligently tried to keep from the prying fingers of the night, but I’m always up for an adventure, so I plan on diving in anyway. The underline only adds to the seriousness, while the crookedness softens the harsh orders written in a manipulation of electricity. Off to the right is the land of taboo. Unknown and unrevealed, I choose to hug the little warmth emanating from the left and center. Like a moth to the flame, I hang myself in the space between the moon and the unfinished lettering. The moon, she is so lonely up there by herself. I feel a certain obligation to visit her and hear what she has to say. I can do nothing but trust her in her infinite wisdom and control of the after-hours, as she is always there, always watching, always inviting me to search for the light. Even though this piece has obviously been stripped to its most fundamental features, there is still so much conflict. One last point I will make, so as not to write a novel on this excellent image, is that it almost seems like the moon is competing for attention against the harsh electric blast. Natural light versus man-made light. Nature versus man. At the same time, she knows she will never fade away, she is completely confident in her abilities to rule the night, no matter how many light bulbs we waste advertising a “welcome.” Then again, I may just be looking for something in all of the nothing…
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CRITICISM!!!
by Tony MooreI sometimes look at photo’s I’ve taken and noone leaves any comments, I can only make the conection that noone likes them, and that’s fin…
I sometimes look at photo’s I’ve taken and noone leaves any comments, I can only make the conection that noone likes them, and that’s fine, it’s not a problem, the reason I like them maybe more subtle, a texture or a shadow. / What I would love is if people would say why they don’t like a shot, I would learn more by that than any positive feed back, not that I’m saying I don’t like positive feed back, because I love it as much as anybody. / Sometimes I look through other people’s work and think it could be improved, but are scared of leaving criticism, because I don’t want to hurt anybodies feelings, and I’m not the chief judge of photography. / I would like anybody who wants to help my work to reply to this, or if anybody would like my humble help, to leave a reply to this, or even suggestions of how to say criticism without hurting. Thanks Tony
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