|
Alberto Pfeifer
{K:617} 11/14/2004
|
Hello Omar,
thanks for commenting my Eiffel Tower. so I thought I'd pay a visit to your page as well. Apparently many people notice the view outside the clocks...good, each of us takes his own shot!
What I like in your version is the extreme DOF!!! Any blurring in the remote plane would have made the city unrecognizable, here instead it is all very clear, including Montmartre far in the distance. Very good! Alberto
|
|
|
Murat Harmanlikli
{K:7846} 10/12/2004
|
very good..
|
|
|
Khaled Mursi Hammoud
{K:54005} 10/7/2004
|
Wowww....superb omar, I like the way you composed it, with the cityscape between the clockwork as the background. Perfect B/W effect, great work Omar 7+ Regards my friend.....Khaled.
|
|
|
Omar Rifaat
{K:10141} 10/5/2004
|
Hugo, Thanks for your constructive feedback. It has got me thinking. I will have to go back to Paris again soon!
|
|
|
Hugo de Wolf
{K:185110} 10/5/2004
|
Hi Omar, Very intersting shot; the age, timelessness and history radiates from this image; especially with the city of light in the background. It would be interesting to see the same shot with a conciderably shallower DOF in comparison to this shot. I do think this photo tells a bit too much of the story; a blurry part, either in the clockwork, or in the background would leave more to the viewers imagination, which might benefit the atmosphere and tension in this shot. Still, a very creative and well balanced composition, and a very good shot.
Cheers,
Hugo
|
|
|
Patrick Jacobson
{K:29151} 10/5/2004
|
Very interesting composition.. could be better with a dark frame.. and being more centered.. aka the exact same distance from the different part on the both sides to the frame. Great view.. good toning and light! =) Keep experimenting my friend!
Cheers
Patrick J
|
|
|
George Black
{K:102014} 10/5/2004
|
Omar, You did it again. I never thought (until now) of using such a wide-angle lens for this great architectural feature. This works very, very well, indeed. Congratulations! Regards, --George
|
|