this is a really hardcore tight end as
it should be I want to feel a photograph
I want it to touch me emotionally
of course there’s just sort of visual
beauty but I want to go one more layer I
want to be able to live inside of it a
lot of what we talk about when we try to
explain why I like it gets very
intellectual but often it’s that first
gut reaction wow that’s cooler
wow that’s interesting I think today’s
edit was was really more of looking at
the cream that sort of had already risen
and why they followed the editing floor
it maybe just didn’t work well it didn’t
it there was something a little better I
think what makes an image go from
beautiful and good to great I think just
first and foremost its technical I mean
that’s the base level it just has to
technically be executed well I like it
but when I see it here I think the
quality’s even if whatever they were
focusing on I think the quality looks
really awful I don’t think it would hold
up at all so I’m gonna go in oh the for
me is that the guy with the orange shirt
to the left of the net yeah shirts
clipping the thing it I think this has
got to be like a chess board yeah
everything is there and there’s no
foreground you know sometimes it just
doesn’t happen well I think each judging
panel is a little different and it’s
really about the chemistry between all
of the the judges I have a huge respect
and an appreciation for Ericka Larson’s
photography and I had a huge respect and
appreciation for Keith Jenkins weight
and measure in in the publishing world
in photography and so there was a very
excellent gears that all meshed in the
process and I didn’t think that the
debates were hot or contested there’s a
lot of great humor that played out
I did not keep boats Italy one way that
I find is always effective sometimes in
judging situations is just to ask
somebody to look at a picture again
because that opens up the possibility of
you know taking a different look
different take when I got to here John
or Keith speak about why they did or
didn’t like them it made me think the
challenges your perspective on why you
why you were attracted to it to begin
with
what’s up to you guys I mean I told you
why I like it but I think you two could
argue against why I liked it more – no I
agree with everything you’re saying
you’re a hundred hundred one percent of
it I just think it’s missing one tiny
aspect that jettisons it into
unbelievable composition I don’t know I
think it’s beautiful composition I could
live again and again and again in there
they think they’re beautiful they’re
like a little bit of a dance there and
then there’s all this color to me this
is where the color we’re hot you know
people were just going in one direction
in the other some of the pictures this
is where that color works so beautifully
it’s intense here and it’s soft here it
doesn’t look Photoshop it looks nice
great I think every photograph every
image to some extent had its merit and
had its weight and its measure it’s just
in the end certain moments certain
images really touched us and touched me
now there’s this picture of the owl I
mean that from the moment I got it in
the first set of Edit is really magical
it was a moment I don’t get to see I was
in that way I looked I said well you
brought me in to see an animal in a way
that I never have seen and I probably
won’t get to see
the top images were great the wildebeest
picture you know springs to mind is
something that had enough subtlety in it
that we might have missed it had we not
had that other conversation about taking
the whole image in and letting it kind
of soak over you and then seeing what’s
really in the frame and then the picture
on the train everyone looks really
peaceful but at the same time it just
looks really surreal on something you
know otherworldly it was really the
balance between the individual and the
mass and then do it you know in a very
poetic way with color and light now the
overall tone of it was just very
relaxing and what was a very chaotic
scene so there are a lot of things
playing off of each other I thought
there were a lot of great things that
you that you’d like on Facebook in this
whole thing they talked about the
Facebook element because that is the
ubiquitous term in reality that we’re
all interacting in I like that tree I
like that light I like that dress
I like that photograph right it’s a very
very simple but now become quite a
powerful statement all these things we
call social media what I like to call
self publishing it is driven by visuals
take the argument that somehow the
proliferation of cameras attached the
cellphones is somehow lowering the
standards I think is totally refuted we
are communicating visually much more so
than we ever have before and I think
that’s a good thing
you
you
it should be I want to feel a photograph
I want it to touch me emotionally
of course there’s just sort of visual
beauty but I want to go one more layer I
want to be able to live inside of it a
lot of what we talk about when we try to
explain why I like it gets very
intellectual but often it’s that first
gut reaction wow that’s cooler
wow that’s interesting I think today’s
edit was was really more of looking at
the cream that sort of had already risen
and why they followed the editing floor
it maybe just didn’t work well it didn’t
it there was something a little better I
think what makes an image go from
beautiful and good to great I think just
first and foremost its technical I mean
that’s the base level it just has to
technically be executed well I like it
but when I see it here I think the
quality’s even if whatever they were
focusing on I think the quality looks
really awful I don’t think it would hold
up at all so I’m gonna go in oh the for
me is that the guy with the orange shirt
to the left of the net yeah shirts
clipping the thing it I think this has
got to be like a chess board yeah
everything is there and there’s no
foreground you know sometimes it just
doesn’t happen well I think each judging
panel is a little different and it’s
really about the chemistry between all
of the the judges I have a huge respect
and an appreciation for Ericka Larson’s
photography and I had a huge respect and
appreciation for Keith Jenkins weight
and measure in in the publishing world
in photography and so there was a very
excellent gears that all meshed in the
process and I didn’t think that the
debates were hot or contested there’s a
lot of great humor that played out
I did not keep boats Italy one way that
I find is always effective sometimes in
judging situations is just to ask
somebody to look at a picture again
because that opens up the possibility of
you know taking a different look
different take when I got to here John
or Keith speak about why they did or
didn’t like them it made me think the
challenges your perspective on why you
why you were attracted to it to begin
with
what’s up to you guys I mean I told you
why I like it but I think you two could
argue against why I liked it more – no I
agree with everything you’re saying
you’re a hundred hundred one percent of
it I just think it’s missing one tiny
aspect that jettisons it into
unbelievable composition I don’t know I
think it’s beautiful composition I could
live again and again and again in there
they think they’re beautiful they’re
like a little bit of a dance there and
then there’s all this color to me this
is where the color we’re hot you know
people were just going in one direction
in the other some of the pictures this
is where that color works so beautifully
it’s intense here and it’s soft here it
doesn’t look Photoshop it looks nice
great I think every photograph every
image to some extent had its merit and
had its weight and its measure it’s just
in the end certain moments certain
images really touched us and touched me
now there’s this picture of the owl I
mean that from the moment I got it in
the first set of Edit is really magical
it was a moment I don’t get to see I was
in that way I looked I said well you
brought me in to see an animal in a way
that I never have seen and I probably
won’t get to see
the top images were great the wildebeest
picture you know springs to mind is
something that had enough subtlety in it
that we might have missed it had we not
had that other conversation about taking
the whole image in and letting it kind
of soak over you and then seeing what’s
really in the frame and then the picture
on the train everyone looks really
peaceful but at the same time it just
looks really surreal on something you
know otherworldly it was really the
balance between the individual and the
mass and then do it you know in a very
poetic way with color and light now the
overall tone of it was just very
relaxing and what was a very chaotic
scene so there are a lot of things
playing off of each other I thought
there were a lot of great things that
you that you’d like on Facebook in this
whole thing they talked about the
Facebook element because that is the
ubiquitous term in reality that we’re
all interacting in I like that tree I
like that light I like that dress
I like that photograph right it’s a very
very simple but now become quite a
powerful statement all these things we
call social media what I like to call
self publishing it is driven by visuals
take the argument that somehow the
proliferation of cameras attached the
cellphones is somehow lowering the
standards I think is totally refuted we
are communicating visually much more so
than we ever have before and I think
that’s a good thing
you
you
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