Albirder

I disagree about light being a subject: Photographer Alexander Harding has a beautiful project titled “Visible Light” in which he turns light itself into the subject of photographs. (From an article in Petapixel)

Your point is well taken, though. It always gets down to personal preferences on the part of the photographer. Not that we are nec…[Read more]

It is not strong enough for me. If it were odd natural lighting, which this one might be, but I can’t tell from context, then I might have a different take on it.

Congratulations! It is worthy of recognition.

Ho, boy that is the truth and then some.

I am struggling to find a subject. Probably it is what I internalize as odd lighting.

That is a pity. I have a leveler that I can put on my viewing screen, as an option. Taking a level picture is important enough to me that I am willing to give up valuable “real estate” on the screen to have it. I really believe that pictures taken on level, even when there are not horizontal or vertical lines in the picture, tend to be better tha…[Read more]

Good suggestions, Billy.

Tom, I write a blog about street photography and one of the topics that is queued up is, “Flip It?” The blog arose from me reading an article by Barry J. Brady about ways to improve a street photography composition. The first way he suggested was to compose so that the viewer’s eye moves left to right in a composition. That can generally be accom…[Read more]

I am going to try to do my own thing on this critique. Let’s start with parts, because parts are parts. Background A+. Great texture, no bits of light that are distracting. (Well, that will have a qualifier later.) A perfect color palette. Placement in the frame A+. Great diagonal that the right wing and left tail feather form. Compositional g…[Read more]

We really veered off here, didn’t we?

I definitely prefer the panning shot, but that may be a decision based on compositional strength. There is much better light and placement of the subject in the panning composition. I am not especially good at either one. Hats off to you!

I like this crop, Ed!

Well said!

This kind of work is always fascinating to me. The color palette certainly works for me. I love text, so that is good. I agree with Paul that there is something of a a black hole on  his face. Fairly small n-1. The tombstone does not work so well for me. I know it is supposed to be telling me something, but I am not sure what. I did just complete…[Read more]

Delicious blocks of color and they are sufficiently in focus to work for me. I agree with Richard about the crop. When the strip of blue frame is taken out, so will the reflection on the street, which I find very distracting. The n-1 is the guy on the left. In this case the stride did you wrong. It produced an awkward arc of red. The third person…[Read more]

There are some nice diagonal lines in this image that increase the sense of movement. Two of the people are in stride, which is actually also the creation of diagonals through the V of their legs, and highly desirable when composing pictures of people walking or running. I generally have a personal preference for some part of the picture to be in…[Read more]

Thank you, Eric. We will see where this orphan leads me.

You are absolutely right, Federico. It took me awhile to understand that this particular orphan is actually a part of a group of orphans. This I know. It is an issue on my mind. I just have to find a way to present.

Brad, I can really see your point. Thank you!

I think you are right, Kent. For some reason the experience in that market made a deep impression. But there really is a troublesome turn for me. I look at a lot of street photography. The bast majority of it looks all the same to me these days. When I have a composition that is different, good or bad, I think I am drawn  to it.