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― Artistic Expression ShowcaseTextured pond scene

Non standard photographic editing; collages, manipulations, assemblages, applied textures, double exposures
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LindaShorey
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Textured pond scene

Post by LindaShorey »

I'm going for an old, scratched metal print look (I think, lol). Would the image be stronger without the top 1/3? The egret is from a specialty brush. Just stamp and go. Great fun :) Detailed feedback regarding distractions, mood, pp - all welcome!
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Charles Haacker
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Post by Charles Haacker »

LindaShorey wrote:I'm going for an old, scratched metal print look (I think, lol). Would the image be stronger without the top 1/3? The egret is from a specialty brush. Just stamp and go. Great fun :) Detailed feedback regarding distractions, mood, pp - all welcome!

I like it very much! After much consideration I think, had I made it, I would crop to a square from top. Then it looks like some sort of Japanese art print. I thought about it a while. If I do show the shoreline then I know where the reflection is coming from, and I like that as well, but not as much as scrolling it up to a square where I find I don't wonder where the reflection comes from or even if it is a reflection. Ir becomes only background. Then the egret stands well out, whereas s/he has to compete for attention with the sharper shoreline and trees. I think if I did keep the composition as is I'd try to clone out the flat rock as a distraction, but I really like it best as a square from top with the egret beneath the texture. Really cool picture! :thumbup:
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Ernst-Ulrich Schafer
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Post by Ernst-Ulrich Schafer »

Lovely Linda.
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Post by PietFrancke »

I can see cropping the top third and having it be a reflections only type image. I have to say though that the texture work on the top third of the image is my favorite part. Perhaps consider a tad less texture in the strip of water directly in front of the shore. The bird is flat, I like it very much as a compositional element, perhaps paint light white on it's left edges similar to how the trees are lit on the left.

Another completely different approach might be to slightly blur the far shore line and trees so that it's sharpness doesn't steal the eyes from the center reflections - which to me is also very much a hero component of this work.

From a composition/color/light point of view, this image with some tweaks belongs in puzzle box, a 500 piece one. There is magic here.

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Post by LindaShorey »

Charles Haacker wrote:I like it very much! After much consideration I think, had I made it, I would crop to a square from top. Then it looks like some sort of Japanese art print. I thought about it a while. If I do show the shoreline then I know where the reflection is coming from, and I like that as well, but not as much as scrolling it up to a square where I find I don't wonder where the reflection comes from or even if it is a reflection. Ir becomes only background. Then the egret stands well out, whereas s/he has to compete for attention with the sharper shoreline and trees. I think if I did keep the composition as is I'd try to clone out the flat rock as a distraction, but I really like it best as a square from top with the egret beneath the texture. Really cool picture! :thumbup:


Thank you Chuck! You described your response very articulately (unlike my reply - ha!) and I can really get a good sense of pro's/cons for cropping. I appreciate very much!
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LindaShorey
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Post by LindaShorey »

Ernst-Ulrich Schafer wrote:Lovely Linda.

Thank you kindly, Ernst. I'm very pleased you enjoyed!
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LindaShorey
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Post by LindaShorey »

PietFrancke wrote:I can see cropping the top third and having it be a reflections only type image. I have to say though that the texture work on the top third of the image is my favorite part. Perhaps consider a tad less texture in the strip of water directly in front of the shore. The bird is flat, I like it very much as a compositional element, perhaps paint light white on it's left edges similar to how the trees are lit on the left.

Another completely different approach might be to slightly blur the far shore line and trees so that it's sharpness doesn't steal the eyes from the center reflections - which to me is also very much a hero component of this work.

From a composition/color/light point of view, this image with some tweaks belongs in puzzle box, a 500 piece one. There is magic here.


Thank you for your intriguing suggestions, Piet! Between Chuck's and your ideas, I have much to explore. I'm so grateful for your feedback and interest.
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Post by minniev »

LindaShorey wrote:
PietFrancke wrote:I can see cropping the top third and having it be a reflections only type image. I have to say though that the texture work on the top third of the image is my favorite part. Perhaps consider a tad less texture in the strip of water directly in front of the shore. The bird is flat, I like it very much as a compositional element, perhaps paint light white on it's left edges similar to how the trees are lit on the left.

Another completely different approach might be to slightly blur the far shore line and trees so that it's sharpness doesn't steal the eyes from the center reflections - which to me is also very much a hero component of this work.

From a composition/color/light point of view, this image with some tweaks belongs in puzzle box, a 500 piece one. There is magic here.


Thank you for your intriguing suggestions, Piet! Between Chuck's and your ideas, I have much to explore. I'm so grateful for your feedback and interest.


Very nice creation. The effect is lovely in that top part, but I am finding I agree with Piet about the bottom. The texture has flattened the bird more than it flattened the trees, maybe because of the texture itself, or maybe the nearness of the bird, or his lighter tone. I think Piet's ideas about "working" the bird a bit more to sculpt the light on him might bring him out of the shadow a bit, or reducing the impact of the texture on the lower portion, or both. It's got so much depth at the top/father side, I'm wanting it to have a bit more on the nearer side.
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Post by St3v3Murray »

LindaShorey wrote:I'm going for an old, scratched metal print look (I think, lol). Would the image be stronger without the top 1/3? The egret is from a specialty brush. Just stamp and go. Great fun :) Detailed feedback regarding distractions, mood, pp - all welcome!

This is a beautiful image and it's amazing how many options you have!

- Leave it as-is and be proud of your work
- Remove the egret and little puddle it stands in and call it a day
- emphasize the egret bringing it more to the foreground
- crop the top-thrid removing the shoreline
- crop the bottom-third removing the egret
- or simply remove the little puddle and see if you like it

This is wonderful and I'll be curious what you end up with! S-
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LindaShorey
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Post by LindaShorey »

St3v3M wrote:This is a beautiful image and it's amazing how many options you have!

- Leave it as-is and be proud of your work
- Remove the egret and little puddle it stands in and call it a day
- emphasize the egret bringing it more to the foreground
- crop the top-thrid removing the shoreline
- crop the bottom-third removing the egret
- or simply remove the little puddle and see if you like it

This is wonderful and I'll be curious what you end up with! S-


Thanks so much, Steve. You've inadvertently addressed what I've been struggling with for the past year or so: decision making! Many times when I have no clear idea of where I'm going, I don't end up with a firm conclusion. Not surprising, eh ?

But I do have many where I'm quite satisfied with my first vision and version (even after receiving feedback with suggested tweaks), so I'm just accepting the other times as part of my "new normal" (aging) :D
"What's important in a photograph and what isn't." http://photographylife.com/whats-import ... -what-isnt

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