[Irma]

I think my picture is best viewed when you are a bit far from the monitor so you can get the whole idea first. I posted it large so you can see more in detail if you like.

This is the first time I work with this kind of post processing so I would love to know what to you think about this work.

My question here is if you think it is too busy, cluttered, not strong enough to capture attention. If I should simplify it by removing elements or cropping?

Thanks...

[matthew]

So Mondrain, Monet, and Pollock walk into a bar...

I like it exactly as presented, with only one exception: the bright highlights on the right edge are drawing too much attention to themselves. Cloning them away would (probably or possibly) strengthen the overall image. (Not the yellow ones, just the three white areas in the lower-right square.) Otherwise I wouldn't touch a thing. As you've presented it, it looks to be a finished work with all aspects in balance, and changing one would change the entire piece. I wonder how it would look printed very large on a textured surface, perhaps canvas, or perhaps plywood...

For future images in this style, I'd prefer to see a squarer aspect ratio if they're being composed vertically. I find that a relatively tall and narrow image is harder to get lost in, and squarer or horizontal is more satisfying to view - but that may just be me.

[Toad]

Irma:

you know that i am your biggest fan....

I need to see a narrative to tell me the story. I am seeing an *effect* here. Sorry - I think that you can do better using this effect as the launching pad to a real statement..

[Irma]

Thanks Matthew for your comment.

I see those bright highlights you mentioned. I saw them and I left them as a connection, but I will work on this area today and I'll see how it will look without them.... I find this corner very interesting, I see it enigmatic and mysterious, I will polish this a bit.

G has offered me to print it large when I have my final version. I am in doubt to print it large because my image is very small. I could print it 20x30cm with 240dpi as it is now. To print it large I will have to make a major resizing. It will be a good test in many fields.


Thanks Toad for your comment, as well.

No need to be sorry Toad. Your comment as always is interesting, and helpful.

We know that our pictures reflect and project our state of mind, our feelings and moods. At the moment I feel truly connected with this image. I really see myself here... When you say "I need to see a narrative to tell me the story". I think, maybe I have the connection because I know the story behind.

Your art and Matthew's have been always very influential in my work. I thank you both for your time to see and comment on my picture...

[Toad]

We know that our pictures reflect and project our state of mind, our feelings and moods. At the moment I feel truly connected with this image. I really see myself here... When you say "I need to see a narrative to tell me the story". I think, maybe I have the connection because I know the story behind.

Yes - I can understand that. I am feeling super burned out following my show, and I suppose that my emotional eye is not functioning at its best. I guess that I need to have things spelled out for me right now that would be intuitive if I were thinking clearer...Thanks for your reasoned response to my negative comment.

I like the pink thing in the center frame...

[Zig]

I like it just the way it is. Matthew makes a good point that aspect becomes an important consideration for textural work...I'd add that edges and borders do too.
To expand: it might be said that if we compose a textural piece in the same format we'd do a landscape, the viewer's eye might be tempted to "wander around" in expectation of something that is not there. Deciding on aspect ratio as part of the whole, early on in the creative process, lets you be in control of what you are saying to the viewer and how you wish(or suggest to them) to engage them. I personally think that vertical or horizontal aspects work fine, but maybe think about why/what journey you wish the viewer to make as they "enter" the piece.
I think the leaf placement makes a lot of sense and has much significance by purposefully placing it where you have; it also allows the viewer to compare the corners of such sub-shapes in other parts of the whole; the suggestion of sub-frames is really neat, telling a series of "events" as well as just one...yet I wonder if there does need to be a little more decisiveness in the "route" you wish the viewer to make...?
As the other comments here, these are purely subjective responses and not a few "shoulds" or caveats; I like the considered eye behind it..it's definitely an "Irma"!

[NT73]

Sorry Irma, I can see you have put a lot of brain power into this, but it does not work for me. :/

[Irma]

yet I wonder if there does need to be a little more decisiveness in the "route" you wish the viewer to make...?

Yes, the sub-frames definitely have to have a real function, and your idea of using them as a guide... or to give some depth is great! I love it!

Excellent point in your comment, Zig. Thanks

This hasn't been just a vague idea. I have done it since autumn last year in my studio, placing different leaves and berries in different wooden frames, I have done it with different pictures and I didn't feel I was into the right direction. When I got this work done, I thought I should post it, first because it is the best I have come up with, and then because I knew I could get great feedback from you all.

Your comments, all of them, are positive to me. Some favor my work and some others not, but even those are positive because let me know your reaction about my image, and this is really great.

NT Thanks for your comment, I appreciate a lot your honesty....

[nia]

Dear Irma, you are one of my favurite photographers and always I find something so impressive! This really hit me again, I loved what you did,

thank you dear Irma,
with my love,
nia

[matthew]

Resizing might not be too difficult for images like this, since it's about texture and tone more than detail. Enlarging it and then softening it a little to get rid of pixelation would b my approach, but I'm sure someone else can be much more sophisticated. The only problem is that the lines and borders would be much more satisfying if they're sharp and clear. This might also be a suggestion for next time, but that would probably be easier to achieve if the file has already been enlarged to its final size before working on it. It's an added challenge, but the intention behind it appeals to me.

I should admit, in case anyone doesn't already know, that I'm a fan of abstract expressionist art. A book titled "Pictures of Nothing" was made from a series of lectures by Kirk Varnedoe, who said something that I strive to remember. "The less there is to look at, the more important it is that we look at it closely and carefully. This is critical to abstract art. The small differences make all the difference." While he's talking about the experience as a viewer, I think it applies to us as creators, as well.

[Irma]

Thanks nia, I am happy you like my work...

Thanks Matthew for your advice about resizing. When I work in a picture like this one I always keep the original with all working layers without merging them. Lines and borders were made with masks I think I could re size without problem.. I worked with topaz too but I stored my settings as a preset so I might be able to reproduce the same image with larger size from the beginning.

Thanks a lot also for drawing my attention to this book. I like the quotation too...