КРИТИКА

torben (3100) 2006-10-06 15:52

Rotorbladet der stikker frem i billedet er meget effektivt til at holde kompositionen sammen, og fyren der kigger ind ad vinduet fеr hele maskinen til at se lidt klejn ud. Det er umiddeltbart de to ting, jeg lжgger mest mжrke til. Baggrunden er lidt rodet, og jeg tror at jeg vile have foretrukket mere vidvinkel og en lidt lavere sysnvinkel for at give lidt mere dynamik til billedet. Men det store mysterium er, hvordan du bеde kunne tage billeder af take-off set udefra og samtidig vжre inde i helikopteren? Taler vi om astrallegemer eller doppeltgangere her?

torben (3100) 2006-09-29 14:17

A very descriptive detail. The composition is well balanced between the large expanse of grey normailty and the spot of green individuality.

torben (3100) 2006-09-25 17:59

An unusual shot that works quite well. The dark, blurred reflections in the golden sand forms a most captivating background pattern. And, of course, there is that pair of smooth ladies legs in one corner, and white foamy stuff thrusting towards her from the opposite corner. Easy to decipher, no? Or is it just my 70'es public school training in analysis of advertising imagery in a late-capitalist society (i.e. exploitation of women) that is rearing its neck? Well, the photo looks good anyway, the touch of dirty old man is just a hint, it doesn't overpower the composition, just a little spice. So, I just finished reading over that I just wrote, and in a way it may sound arrogant, please don't take it in a wrong way. I tend to write what crosses my mind when looking at a photo. But that doesn't mean that I dislike you photo, I actually like it, it just fired of certain associations in my head and I felt that it would be most honest to write about those in my critique..

torben (3100) 2006-09-25 16:17

OK, I was slightly negative towards your previous posting, and it it looks like you listened and corrected ;-) (ahem) The composition of this photo certainly holds together as a unity, v-shapes marching together into the distance. And one of those shapes is fluffy, while the rest are stone-hard, that adds a good doubleness (can't think of a real english word for this right now, hope it is understandable) that helps to keep the interst in the photo.

torben (3100) 2006-09-25 16:00

I took a look at this photo and, following your note, your earlier post of the same subject, quite an interesting comparison. And, well, I prefer the earlier version, the wide-angle view of that post did a better job of bringing the parts of the scene together as a unity. Here the photo tends to break apart around the upper one-third point, the lower part with the river doesn't have much to say to the background hills in terms of shapes and lines in the image. The old photo succeeded better in this area, in that photo the hills are present both in the middle-ground and the background, that helps to keep the composition together. With this telephoto-view, I would in fact be tempted to crop the background hills altogether, to concentrate only on the wonderful swirling shapes and colours of the river and lake. At least, when I scroll down a bit, and the hills disappear out of sight of my browser window, I like the photo much more. Yes, in fact the swirling dark blue line in between the golden tones of the shore before it disappears into the equally dark waters behind, looks so great, that I find the inclusion of the background hills and sky quite diminishing in the overall appeal of the image. It would have been better without. (Sorry for critiquing hard like this, but well, that is much what I do around here).

torben (3100) 2006-09-21 14:13

Lovely image and situation, I especially like the colours, mostly white, grey and skin-tone with two distinctive splashes of pink and blue, that is great. Looking at the colours I perfectly understand the crop, I would hate to loose that bit of blue that enlivens the colours so well. I'm not completely convinced by the framing though, the hairdresser-and-client pair competes with the woman on the left about who is the focal-point of the composition, and they both lose. It could be a nice triangular composition, but as I see it, it just splits down the middle. Sorry, that is my way, always nagging about something.

torben (3100) 2006-09-21 14:00

The softly rolling ground and the soft fluffy clouds complement each other very nicely here. The lines of the stone fences are well frames, sweeping from wide to narrow across the frame (as lines in the composition, that is). The couple of lumps of trees and the building are well placed dots in between these sweeping lines. All excellent, except that I'm not totally convinced by the framing with the pair of wooden posts. The idea is clear enough, but I do think they are too intrusive in the image, almost brutal. And, as far as I can understand, a concealed but angst-ridden (two cannons in the foreground) deconstruction of the pastoral idyll isn't what this image want to do.

torben (3100) 2006-09-19 15:15

(and danish :-). Fint billede med en god stemning. Kvinden i profil er et stжrkt centrum i kompositionen, og den sorte kjole spiller sammen med det mшrke interiшr i butikken sе der tegnes et dynamisk sort omrеde lodret ned gennem billedet ca. i det gyldne snit. De tre mжnd i baggrunden med hver deres kropsholdning er billedets andet hovedindhold, der er en dejlig levende bevжgelse fra den ene til den anden, og de er ganske simpelt interesante at betragte. Manden med ryggen til i hшjre side er ok, han introducerer bevжgelse gennem billedet, men jeg er nu ikke helt sikker pе om billedet ikke havde vжret bedre hvis han havde vжret knapt sе dominerende. Men det er jo svжrt at kontrollere den slags ved hurtig gadefotografering.

torben (3100) 2006-09-19 14:21

This photo shows a corner of the square Nytorv (New Square). This square was created as an extension of Gammeltorv (Old Square) after big fires in 1792 and 1797. The building on the right is the old town hall and courthouse. The city hall was moved in the early 20th century and since then the building has been solely a courthouse. The building was erected 1805-15 by the leading Neoclassical architect C. F. Hansen, it's one of the best neo-classical buildings in Copenhagen. A little further up the street (in Nшrregade) the cathedral Vor Frue was also designed by C.F Hansen after the old church was destroyed during the British bombardment during the Napoleonic wars, in 1807. The portico of the city hall has Ionic columns while the portico of the cathedral has Doric columns, from a certain point in Nшrregade both porticoes are visible together, they make a great pair. One day when I have a proper tele-lens I might take that photo. I like the mood you achieved in this photo, mostly soft and dark tones with a few bright spots, the moon, the street light, the window that balances each other nicely. I would consider doing a bit of perspective correction in Photoshop though.

torben (3100) 2006-09-19 13:39

The pool is supposed to be like that, with water constantly flowing over the edge to make it a pure reflective surface, ideally just a reflection of the sun and sky. The concept of the decoration of this square (Axeltorv) is the old time view of solar system and the structure of the world. The reflective pool symbolizes the sun, while seven big vases, some of which are visible in the right edge of your photo, symbolizes the planets. They are placed with a relative distance to each other that resembles those of the real planets. The vases are designed as a paraphrase of 18th century allegorical imagery. There is no spray in the pool, but some of the vases emits water mist and flames from time to time, refering to the aristotelian primary elements earth, water, air and fire. The square was designed by architect Mogens Breyen and sculptor Mogens Mшller in 1991. Oh - and your photo is nice, perhaps I would have taken a step or two to the right to exactly line up the center of the pool with the axis of the Tivoli entrance pavillion. But the use of the reflective pool is a good idea for this shot.