Hello! This comment is coming to you from <img class="avatar group" width="100" height="50" src="a.deviantart.net/avatars/p/r/p…" alt="" title="ProjectComment" /> The angle that this photo depicts the lone gate is well-chosen because it adds impact, emphasizes the singularity of the gate without its fence, and draws the viewer's eye into the scene. This composition that you have chosen is much better than if the fence were directly in the middle, slicing the picture into two parts. Although the cloud cover takes up a lot of space, the amount of cloud cover is suitable for the theme here, the weirdness of a gate without a fence. It might have been better, though, to have used Photoshop or some filter to make the clouds just a bit darker, to add to the moodiness of this scene. The added lyrics in the comments is a perfect choice for this picture, albeit they don't contribute to the photographic elements themselves. Grayscale is a better choice for this photograph than color, probably because the typical green of grass and blue of sky would convert this photo from an unusual scene, a haunting and surreal mood, a striking composition, into a run of the mill green grass, blue sky snapshot. If it were possible to have tied off the tiny bit of branch on the viewer's right, and then taken the photograph, that would have been better.
This photo is eye-catching. Seven Chevys have been grouped into this unusual perspective without looking crowded. The lot is far from empty, of course, but the picture is not jammed. The eye can linger on the front three cars. The photomanipulation is expertly done, with the metallic textures rendered super-metallic! Most noteworthy are the contrasts: [A] gleaming cars and decaying paint on the building, [B] bright fenders and dark, lowering sky, and [car windows through which the viewer can see into the interior of the car, and the shuttered, dark windows of Classical Gas. There are two very minor notes of criticism. (1) Although the sky contains the right amount of brooding menace, there seems to be not quite enough of the right kind of framing of the scene. Maybe the clouds should be different, just a tad less busy, less ragged, more storm-laden. This point, however, is of slight significance. This is very much a high-impact picture. (2) The apostrophe s combination indicates possession. For a simple plural, just add the "s", a point I wouldn't bring up except you indicate you will do more of these.
This is an interesting still life composed mainly of blue and yellow in those complementary colors' various hues and tints. The lighting is skillfully even throughout. The sharpness of the focus becomes less sharp toward the top of the picture, yet this is not so pronounced as to be distracting. Actually, it lends a bit of soft-focus interest. Of compositional interest are the three circles and two triangles. The spoon and fork form a partial triangle whose apex draws the eye to the bowl of blueberries. The tip of the triangular pancake points toward the same approximate spot. The food is attractively presented, and succeeds in inducing in the viewer a wish to partake. Well done!
Back in the days of analogue photography, professional photographers would put a little paper next to their photo indicating the range of gray shades. This photo reminds me of that. I know from my experience with black and white analogue film that it is not easy to achieve a photo with so many shades of gray as this photo has. The foreground field has grass, the blades of which can be discerned. The next grouping is darker, with nicely silhouetted trees and a guardhouse whose window is one of the lightest shades of gray in the picture: an eye-catching touch. The next three layers of the horizon have three more shades of gray. The sky is believable, not too dark and not too light. Overall, this is a very well-composed picture.
When a work of art portrays a scene of an event that has happened, or has been written about, the facial expressions and body language attain a greater importance than a work of art that is portraying some human action that is sui generis. In this piece, the facial expressions and body language of Joseph and Mrs. Potiphar are done with unusually inciteful depth and understanding, Here Joseph is a slave bound to obey his master, and his mistress AND his God. That alone causes a near-frozen, perplexed ambivalence. To add to that is a sexual ambivalence. The circumstance of slavery has doubtless imposed a state of virginity upon this virile youth. He would doubtless have loved to take her up on it, but wait! God has forbidden it, and of course Potiphar also would not be too pleased. How to put this femme fatale (and does she look that part!) off, without arousing (!) her ire? The background, too, is well chosen. It is generic enough and simple enough to be a scene in Egypt. It doesn't distract, but frames the couple to best effect. Only negative thought? The dress of that minx could have better detail, and fewer stray silver spots.