Jim Goodyear says:
all i can say about this super image is that it stopped me in my tracks; and the reason for that was partly the atmospheric layering, partly the wonderful colour contrasts, and partly its splendid composition (it has thirds all over it !) - in short it is a very good photograph, probably not SOOC, but very few great images are (certainly none of mine).
all in all a quite remarkable image - well done Anders.
Jim Goodyear says:
I have been following Dave Thurlow's relatively unusual images for a while now and am always intrigued to find out what he will come up with next.
Although a lot of his recent work has been produced with the aid of a flying camera in his beloved Wales; this image proved to me that this his compositional ability is not limited to Wales or to flying cameras.
Admittedly, Iceland can be deemed to be a photogenic landscape, it still requires the cameraman to compose a good image - as is evident in this picture.
Jim Goodyear says:
Another Fine Composition that shows it is not necessary to use HDR or Graphics 'Textures' to achieve a Classic Photo; in fact this shot proves the opposite is true.
This photo reminds me so much of some Beaches in my birthplace of Cornwall (without the Sun, usually - we were a hardy breed), where quite a lot of this type of Fencing was used.
As I said before, generally a Better, not necessarily Greater, emphasis is achieved by channeling the viewers attention and thinking, by less distraction of the Focus Points.
The Bending of the Shadow Lines on the Sand (into Zebra Stripes) is the Best Part of the Image.
Good Work, Wish I'd Taken It.
Jim Goodyear says:
What a change it makes to see a well made photo without the image being spoilt by too much HDRing or Texturing.
The Subjects of this image are seen more easily without the distraction of too much Colour or Graphics.
The 'Washed Out' look is a clever touch that still maintains the Softness of Pastels without the stark contrast of B&W.
The Chrome Lids are unaffected by this technique and steal the show as well as providing the main Perspective.
I'd like to see more of this style.
Jim Goodyear says:
Not only does this wonderful image exemplify some of the best aspects of London, but it also exists as a near perfect example of how simple landscape photography can create a visual treat without having to display sweeping mountains or vast horizons.
The content and composition of this image are very well chosen. The layering, the balance between earth, water and sky, the central figures placed in a near perfect third position and the underlying firm curve of the path make this a Classic photograph.
Jim Goodyear says:
Every now and then I come across an image that I think could not really be improved upon - I hope that the images in this gallery all fit that bill.
This, like its companions, in this gallery not only leaves me aspiring to be able to capture something this good but also has the power to make me stop and think.
The fact that, in my book, this is an almost perfect composition (I am very thirds oriented) I think is made more evident because it is in Black & White and there is no colour to distract from the content and composition.
Jim Goodyear says:
The depths of complexity within this image leave me wondering whether I will ever be able to achieve anything that expresses the timeless nature of the wilderness as well as this does.
This image also shows how the viewer eye can be mystified by defeating the assumption of depth of field focus.
It asks so many questions that cannot be easily answered.
Jim Goodyear says:
Each time that I see this image I have to stop what I was doing and just stare at it, it is such a strong image that it almost takes my breath away.
It achieves all the elements that I would want to have in one of my B&W images.
i should also say that i have a particular fascination for shining metal elements like the tubular bars on the revolving turnstile gate and this is a fine example of how they can be presented artistically.
Jim Goodyear says:
It does help that this is a particularly attractive and iconic structure, but really this is such a great capture of some very strong shapes.
I know that it looks good in the warm tones of the colours of these glue laminated pre-fabricated elements, but this greyscale treatment ensures that the colour does not distract from the beauty of the elemental shapes in this glorious structure - yet another reason to go to Chicago.
Jim Goodyear says:
My jaw literally dropped when i saw this image. I had been burrowing through the Urban album of Jutta and had been eagerly finding little nuggets of quality to invite to various groups when i suddenly came across this Real Gem that spoke to me so loudly I had to stop and marvel at its quality.
The Luminance that is shining through these faceted planes is nothing short of spectacular - I so wish that I had taken it - it is magnificent !
Perhaps it says lots about my likes and passions, but this is an image that i would have been really proud to achieve.
Jim Goodyear says:
This image i saw on a cold morning in the UK when we were told that the temperature would probably drop to -5C and that the wind would make it feel even colder.
How apt then that i should come across an image that reminds you of standing in the cold in your shorts.
Apart from that, this image attracts for many reasons; the stark silhouette of the primary object, the contrast between the colour and texture below the field's horizon and the
colour palette of the sky (with its lack of texture), the feeling of nature's harsh serenity.
All in all, a quite remarkable photograph.
Jim Goodyear says:
This image almost stopped we dead in my tracks with the strength of it's composition.
What really makes it stand out is the strength of image that is created with so few significant elements in the square; what has been achieved with this 'monochrome' technique and the use of 'lines' is quite remarkable, an effect that I would not have believed possible.
Perhaps the lack of distracting colours is what gives more emphasis to the linear elements of the image, particularly the softer arc, the harder 90 degree corner and the simple set of joint lines marching down the steps and out of sight.
To have seen the image and then captured it so successfully is a skill worthy of comment.
I regret the use of the border/frame, but will forego that preference because I love the picture so much.
Jim Goodyear says:
what is perhaps most remarkable about this picture is the major diagonal slash across the image separating the extremely detailed and busy bottom left and the almost empty and serene top right.
to achieve this bifurcation is a special feat and we are not often gifted a scene that allows it.
Jerry, however, has seen the scene and grabbed it spectacularly, heartiest congratulations are in order !
Jim Goodyear says:
I find the tension and sharpness shown in the dune crests fascinating; they almost look as if they have been carved or cut with a knife the edges are so clean and exact.
I am sure that the skill in achieving this kind of result lies in knowing your subject really well, especially knowing when the available light will produce the right result in terms of shadows and colours.
There is also a a tension between the dunes and the foreground and the mounds in the background, as the colour values are so obviously different.
Altogether a wonderful realisation that I would be proud of.
Jim Goodyear says:
This image is so different in the emotions that it evokes that it may just as well be from a different set of images from the one above.
This foreground really does look like a wave of sand about to burst on the viewer with another set of waves swelling in the background.
Being born and brought up in Cornwall, by the sea, the wave analogy seem so obvious to me because the crest of the foreground dune carries a shadow below the lip, just like a breaking wave.
Another spectacular sighting and capture.
Jim Goodyear says:
i just love the fact that the photographer has found something that is usual to him but has decided that it might be of interest to others.
he is correct; i agree with him that this is one of the finest examples that i have seen of early carpentry and joinery skills and techniques.
i particularly love the detail near the bottom left hand corner that shows an inset knee brace that has been given extra traction by being cut with a tooth profile.
that is just one of so many excellent examples, in this image, of wood construction methods and mastery.
Jim Goodyear says:
having just tripped over this wonderful image again, a year after i first saw it, i am surprised that i did not add it to this gallery back then.
like so many great images, each time that you look at it, you find more to see.
the stark colour contrast and the awkward questions asked by the many directions of the projecting windows are the main feature of this work; but its simplicity and the composition are the underlying strengths of the image.
Jim Goodyear says:
what can i tell you about this image - not so much (except that they are Potash Evaporation Ponds, in Utah, not too far from Grand Junction, i think); but, i can tell you a bit about my friend the 'roving magpie', the intrepid traveller who took this wonderful image.
he and his equally intrepid model (muse and life-partner), the photogenic Kani, spend a large portion of their time travelling and hiking in the great outdoors of the USA, particularly the south west, recording the images of what they see in the sometimes remote areas that they frequent.
this image is a good example of his 'eye' for composition and his ability to catch the spirit of the image and to put the viewer 'there'.
he has an unerring ability to get the best out of images that mainly comprise red rock blue skies, white clouds and occasionally river water; this image however, is somewhat different as you can tell, because this 'blue' water is never seen in the 'roving magpie's' deserts.
you keep taking the pictures 'roving magpie,' and i'm sure that i and many others will keep on being looking at them and being stunned by the wonderful places that you document with your trusty companion and camera.
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