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25/06/2015 - 12:27 AM

Time to move

Time to moveHi,

It may be my vision but I think I can't find a sharp focused area in the frame. It does appear to me that the grass in front of the tiger is a bit sharper than the tiger's face, but surely this shouldn't be the case, how on earth the camera focused on the grass? It doesn't make sense.
Post capture sharpening might work. But I think the wide aperture of f/4.0 gave you too much narrow depth of field to work on, during a day where the light seems to be plenty for the use of a higher aperture f/5.6 or f/8.0; combined with an increase of ISO to 400 or even more so you can freeze movement with a speed of 1/800 sec... SLT does with mirror movement so we exclude the possibility entirely. It is said that image camera body stabilisation offers less sharpness when compared to pictures taken by on-lens stabilisation. This could be an example of it Smile

If I was asked to reframe this, I would take a thin horizontal strip from the top to exclude the grey fence showing at the back; let the animals appear to be in a wild habitat; the flora above the tiger's head -minus the fence- is just right for the job. Further minimalist trimming from both sides, would keep the frame in proportional shape.

03/06/2015 - 8:00 AM


DuneHello Alexander.

I am looking at it and I'm thinking.... the vast space of desert there is there... extending in width as much as your eye can see.

The notion of space and width in particular made me reframe your image away from its 3:2 format. I went for a frame where the width is proportionally at a rate of 4:2 to the height of the picture (or that was my intention within the limits of my small screen I am working with). Starting point was the bottom right corner, the start of the sand dune edge right, as the Arabs write.

I second Franken's idea of a picture without the sky. It would lead to an abstract shape. One shot then, two birds in the bag Smile

28/05/2015 - 3:16 AM

Jean Gabin from Santa Brigitta

Jean Gabin from Santa BrigittaHi.
Your framing and timing are excellent. The bright parts of the picture balance well with the dark ones creating a harmonious and pleasing image.
My modification addresses what I find to be a slight problem with the square format (which falls into what I call FrameFollowsForm).
The issue lies with the interest created by the cart well and the ironwork behind it, it is beautiful and distracts from maintaining attention to the man's glance.
He looks a real character Smile

29/04/2015 - 4:35 PM


SantoriniHello Alexander,
I would be very tempted to take this picture in a portrait orientation, vertical, rather than horizontal. I think a bigger proportion of the top dome on the left of the picture would look more interesting than what the little dom on the right bottom corner does. All the other aspects of the picture, including the sunset colour, albeit, less, would retain, if not increase, our attention on your nice picture.
28/04/2015 - 8:27 PM

Italy. The space #1

Italy. The space #1hi,
I think that you needed a graduated natural density filter to reduce the flare from the top and retain the colours at the bottom; you can immitate the effect in the adobe lightroom as well.
Nice view and picturesque location, bravo
14/04/2015 - 10:42 PM

Dont get to close!!

Dont get to close!!hi,
my advice is ''keep it simple''.
I will explain myself: you present a swan's neck, head, hair, eyes, beak and body (partially); your picture contains four colours, white, black, orange and cream-orange(?) -it's hard to describe the colour on the right top part of the head- do I make them sound too many? it's because they seem too many for the frame.
My attempt has turned the attention to the eyes mostly as I have allowed for the flexible neck to appear. Why did I try an oblong shape? It's because I didn't need to show the body on the bottom left to display the bird's grace. The more away the body is the more you perceive the neck to be tall and elegant. Horizontal because I thought to give credit to your original picture, or suggest you might needed to zoom in or ''get closer'' but that might had prompted the bird to defend itself by attacking you. I made use of the diagonal white part separating the two black parts (and notice I cropped the head on the right, rather than leaving it to appear fully) and I have allowed empty black space on the left in an attempt to balance with the white.
And I would urge you to attempt to see my mod in black and white as well.
03/04/2015 - 11:18 AM

Lots Going On

Lots Going OnHi,

My modification is not in line with your tittle but I could not stop thinking that you could have got this shot vertically to include the feet of the three people at the bottom of your frame or having a square crop like the one I uploaded for you.

It shows less but it looks sufficient. Aww by the way, it keeps competition out also Tongue

03/04/2015 - 10:44 AM

Portrait 2

Portrait 2Hi,
I agree with Otinkyad, although initially to me your friend's skin veered to green (I might had been fooled by the foliage).
I don't mind the halo created at the back of your friend's head and I shall congratulate you for having succeeded in making him feeling relaxed.
You won't have a major problem with young people having their chin pointing down but if you start shooting elders keep in mind that this pose shows off their age more and it can create a shadow, so you would better start practicing of asking people to raise their ''chin up''!
Best regards
07/02/2015 - 9:25 PM

A priest.

A priest.Nice,

hey he seems to be a usual theme of yours. You have caught him really well in both instances I saw, in colour and in black and white.

Initially I thought of suggesting you to cut-off the top bright part pf the picture so you stay only with the woman and the priest, the temptation and the refuse of the temptation; the victory of spirit over flesh.

But looking at it I can see a different interesting theme on a diagonal arrangement; the man of the advert on top left with the priest on the right bottom of your frame. The contrast of materialistic lures of the world high on the ad with the monastic stance towards life, the spiritual world, humble, indifferent, approachable on the bottom.

Very well seen and executed. Bravo, once again.
03/02/2015 - 9:51 PM

Lost Childhood

Lost ChildhoodHi.
I will applaud your interesting point of view but I have my reservations for it as it has been shot.
The most distracting thing in your frame is the amount of white space near the top right corner of your frame.
I am not sure if you converted this in black and white after having taken the picture and returned home.
The overall ''play of colours'' here lies between the greys and the blacks, notice how well the black reflection below the glove matches with the diagonally placed blacks of the bottom of the van and the windows of the house; the only white permitted should be the ice on the glove, not the space between the buildings. The attention of the spectator is retained if there is some correlation between the elements of the picture; the stronger the correlation (even if it is ''chromatic'' like here) the stronger the impact. I think you might have had a picture with a stronger punch if you had shot this on a vertical frame that excludes the houses (and the gap between the houses) from your frame. Having found something on the road, does not mean you must shot it as you have found it; you can rearrange it in your frame by moving it around... it's a change done much faster than trying to do it later with software.

09/01/2015 - 7:47 PM

Walk on by

Walk on byHi,

it looks as peaceful as on a Sunday morning Smile

May I suggest to crop the bottom part a bit and exclude the metal cap of the draining water facility there?

Keep Justice clean Smile

17/12/2014 - 6:53 PM



I think you are too harsh to a beautiful lady. I shall agree about the missing jaw above.

A vertical frame would suit your sitter better.

Alternatively I would crop the top 2/3rds of the forehead, to balance for the absence of the missing jaw.

18/11/2014 - 5:40 PM


fashionHello Maya.

It all comes down to the time you have preparing the image.
I have a feeling you can do better.
Try to sharpen your eye and have your all of your senses alert;
try to understand the ''feeling'' you want to create from the image.

Here we have several objects that they talk about fashion and how fashionable the lady wants to look like.
A woman who wants to look good in every detail. She even has Two mirrors in One room!
-Having mentioned the mirrors, I like the idea of the old coal iron to be shown in the mirror on the right (although it appears in an awkward angle on the furniture) and I would have used the second oval mirror on the left differently (moving it either aside to cover the electric socket or) on the floor so the woman looks at herself as she gazes down at the floor, extra bonus: we get to see the ceiling too, it might had been nicely decorated.

I don't mind about the leg I don't see, she could have pulled it back towards the back of the chair. But I would like to see the whole of the foot and the shoe visible. It's pity that one part is missing.

Yes I am with the opinion that a vertical frame could be a good way to frame this. Noise? I didn't notice as much as in my last pic. I think the colour palette of the picture could be nicely displayed and represented in a Black and White version too.

16/11/2014 - 8:59 PM



I would like to comment on your picture, purely because sharing opinions help us to ''see'' a picture differently from the way we have chosen to take it or present it.
I agree that the picture leans more towards ''fashion'' , rather than architecture or portrait, although t can be all three with clever use of the environmental space and deep understanding of a person's psyche, tastes or inclinations. I look at the hook and the implied metaphor. Probably it could work better if the model was to pose of the other side of this metal pillar.

A photograph is our attempt to catch the light or display characteristics of people or objects with it at a very specific point of time. Our frame is an amount of space where light and shadow should help each other to be displayed and come out effectively.

I think the current framing, posing and stylistic selections do little justice to the potential of the space and the model.

Framing-wise, the bright top part of the image, above this horizontal pillar, seems to be an excess, which offers little, if any, interest to the picture with the addition of a grey sky. The abolition of this space, would help our eyes focus in other bright areas, with the biggest one being the spot where the model has posed. In addition if helps creating a ''closed'' frame where the feeling of entrapment, enslavement or potential torture (due to the hook) is carried easily as a metaphor. Further cropping of the 2 most right pillars helps creating a composition of 3 verticals where the poser is almost in the middle, thus is clearly noticeable. Same-wise a slight trimming from the bottom at the bases of the pillars (which vanishes the lightly coloured path) closes the ''entrapping'' space holding the poser tightly. I understand that my cropping suggestion may imbalance your play of thirds there but I think the rules are not there not to be broken, they are mere suggestions which here were not fit for the concepts you seemed keen to explore.

Posing, apart from facial expression, which I like for not looking at the lens has to do a lot with the positioning of the body and I suspect here your model is standing on the wrong foot. The current positioning of the right foot hides the high heel of the shoe on the left leg, alike with the big grey strut on the pillar base which hides the heel of the right foot to be seen. It is again a play of light and shadow or silhouette which could make this more edgy. My suggestion would be to keep the left leg straight and bring the right foot backwards close to her bottom.

I shall agree that the top garment may create a thin figure but the amount on white at the back is almost lost in the grey background. The length of the blouse at the back covers a very nice line of her figure, shame. A monochrome black blouse might had looked better especially if the hair on the left were brought in the front too. A smaller ''frame within a frame'' could have been created if the left arm was closer to the top of the head.

I know that working with a professional model may be an expensive exercise therefore I think that careful planning and even sketching of the poses could address such issues early so your time is consumed in great shots.

30/10/2014 - 10:29 PM

look me close

look me closeHiya!

A couple of additional suggestions from me, worthy to explore as I don't seem them mentioned here.

Colour: A red leaf. Red as blood, would be a much more human-like feature with its symbolic meanings and messages.
A blue leaf. Blue as the sea. Until recently we believed water on Earth was an element which arrived after the creation of the sun, scientists now believe that water quantities on Earth are much older than we supposed.

A black and white version would make this a timeless classic too. Monochrome could display the features, shapes and patterns in a strong way.

An upside version of the picture. The leaf is hanging from the tree to collect light. Bringing it upside down would equal raising our hands to collect the sunshine or the rain, the presents from the sky. An upside picture would also imitate a tree with branches going up rather than down, as a conophore. Plus the fact that the pyramid like pattern now would turn to a more fair pattern where wealth (water) is lead to the centre for feeding the root which in turn would see the tree grow.

best regards
20/10/2014 - 12:11 AM

River 2

River 2Hi!

Tricky shot this one.... I have seen that you had another pic of this model in your portfolio, oblong and vertical; it really suited the model's figure.

This frame though makes me think if it is the optimal you could get from her. Square framing seems to have given just a bit more than the necessary empty space on both sides right and left, and the white of the sleeve is cut off abruptly on the hand we see on the right. Therefore I would suggest a vertical orientation of an oblong shape, here as well.

What makes this picture striking is the two colours, red and black, while the white acts as a elegant and stylish median with playful presence in her sunglasses. Yet the three dimensional space of depth could be stressed far more if she had not fixed the sunglasses on her nose but she acted as if she was adjusting them about 1cm away from the nose.

I would also like to suggest a strong light source lighting the background, which is too close behind her, and giving it a white value; the red and the black would look even more striking then. It would look like the whole figure was in an endless space, dominating the attention.

I like the careful repetition of colours -white, red, black- in the face as in the dress.

13/10/2014 - 11:12 PM



I shall agree with the comments above but I thought of a tighter frame as well, that matches the amount of painting on the wall: hat, head, hands, torso with the same amounts of the walking man proportionately.

The black area on the far right may seem neutralised by the brighter trousers the man is wearing but it could be easily omitted should you had shot this a fraction of the second later ; I think that this is shot a fraction of the second too early.

But the good thing is that you have found a spot where you can be shooting interesting people who are wearing hats, yep I had someone taking a picture of me while I was wearing mine.

tips hat
06/09/2014 - 10:23 AM



I think this was taken in one go and it's not a composite. So I would applaud the effort. But the effort doesn't mean as much compared to the originality of the idea and the composition Smile My command of your language didn't help me understand the explanation you are giving. It doesn't matter.
There is no need for explanation in creative fantasy to my opinion. The picture is surreal and I am quite sure that the ones who baffle with this baffle with works made by Dali. Yes it does have similarities with Dali's colour palette and the blending of the colours is very elegant, with contrast as well as variation of tone. The use of the specific aperture conveys depth of field and explains itself as a unique take.

Mucho bravo
17/08/2014 - 11:51 PM

They're Off.

They're Off.Hi.

Your action shot reveals the spur of the moment and horses' behaviours varied.
Although the response of the horse on the left is interesting, most of the action you want to reveal lies on the right of the above mentioned horse. Should this horse be in your frame? it is already distanced from the horse next to it, I would consider cropping it too.
Banehawi has mentioned the horse on the right and the numbers, his suggested cropping is one I considered myself as well, but I would try to capture the gate numbers wholly. You could have gone wider with your lens, 120mm would allow space for the horse on the right and the numbers on the top.
Most importantly for me the picture could benefit from an even lower shooting angle which would allow the whole stature of the horses to be displayed in its grace and powerfulness.

19/07/2014 - 10:04 PM

Glasgow 2014

Glasgow 2014One of your best pictures Mohikan.

I like the colour popping and the contrast of the old with the new.

Being shot with a wide lens the verticals (as the wall of the building on the right and the column on the left) have suffered from distortion. I don't expect this is the reason for the Town Hall to lean a bit t the right though, but the big G sculpture looks alright. I find the model being a bit pushed back on the sculpture I might had brought her forward where the red circle sees to dive into the wooden surface the statue is standing, this making her more prominent. The picture looks like being shot from the head height. I suspect shooting if from the hip would have made the G sculpture (and the model) more imposing.

Kind regards