It seems relatively OK again, though it has some exposure problems here and there, and I don't know if the right side is OK this way. I'd be glad for any comments.
Visar, you just hit the nail on its head with the description of the too big set of "nice comments" as a subset of the set of all comments! ;-)
Sometimes I wonder why we have a rating range from 1 to 7. A range from 6 to 7 would be completely sufficient here! ;-) And sometimes I wonder... what if I made a test and posted the worst images I ever shot? Would they still be "great" for most people?? Perhaps I'll do that some day. I'll tell you when it comes to it! ;-)
But so it goes. From ten "comments" only one or two will be *comments*. The rest is just enthousiastic reaction - perhaps also for the feeling of "belonging to some group". Understandable, I must say, but quite empty too. So, when it comes to really discussing, I take your comments, or Andre's or Avi's or any other such guy. For the rest we simply say: "Oh, thanks!" ;-)
well, I know of what you speak Nick. that concrete existentialism, an image like this one- make me think of you 'provoking' the hypocrisy of those who do not really look at a shot when saying 'oh, how nice you brought this perspective- and the couple at the end really enriches/ complements/ fullfills the composition--' or anything of this nature-- thinking that this would ensure an eternal smooth and fake interaction of nicefullness (i do not like this and neither do you); while, on the other side, you are fully aware of what there is in your shot. :)
that is because i have attended your work closely, even though i could not manage the time to comment most of them.
well, I know of what you speak Nick. that concrete existentialism, an image like this one- make me think of you 'provoking' the hypocrisy of those who do not really look at a shot when saying 'oh, how nice you brought this perspective- and the couple at the end really enriches/ complements/ fullfills the composition--' or anything of this nature-- thinking that this would ensure an eternal smooth and fake interaction of nicefullness (i do not like this and neither do you); while, on the other side, you are fully aware of what there is in your shot. :)
that is because i have attended your work closely, even though i could not manage the time to comment most of them.
And you just *have* to tell me when I mess it up, Visar! As directly and without any diplomatic approach, exactly as you did here, and for which I am grateful.
I am also quite ambivalent with such images, while at the same time they do tell me much in the sense of just that being there for being there. Perhaps I do some very insecure steps into "existentialism made of concrete" and that's why most of the time my streets are (almost) emtpy of humans. I fon't really know what is that, that I tryx to find out. I guess I will only know when I found it with your help and the help of all the other guys that speak their mind.
The very little detail of the right side is not only the result of exposure but also of that perspective. The facades stand almost perpendicular to my lens - and to the eyes of the spectator, and so almost only the profile is visible.
Now I have to think about exposure *and* perspective again - which is a great think to do!
Many thanks for the nice detailed comment, Gustavo! Another effect that no PS will give you, but rather a wide angle approach. The search for "after infinity" again, ey? ;-)
while i look at this shot i get confused. I see a very ordinary scene from a city. in fact i do not see it well, as some parts of it, as you stated, have exposure problems; a few people further in the canvas and a some cars, and... the right side of the shot, i could hardly say that it balances the image, and i think that's one reason it stands there, or otherwise it is so unnecessary that keeps putting pressure in looking at something that i cannot find any reason for being there. expect for the perspective, which seems to be ok, I have to take the courage and say that you have failed this shot Nick.
Muy buena también, aquí el interés se fija en los árboles de la vereda, muy interesantes los contrastes de sus formas libres contra las líneas rectas del resto de la escena. Bravo!
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