* Wednesday C&C "No Theme" Thread #874 / Revived #094 on 2025 01 15*

Pleasing environmental image with beautifully subdued sunset colors and great lighting.Catching the ferry entering the channel with both channel lights visible is a bonus.

This is an intriguing image. The lighting has created the impression of a neon-outlined doorway, though which a mysterious woman in a blue dress is hurrying. The slanted and somewhat distorted bright light from the right side is like a lightning bolt that's lit up the portal. Different shades of green both vegetation and structure mix to give the impression that the portal is constructed from living stuff. It is an abstract, a street photo, a conceptual photo, a people photo, a travel photo all at once. There are several interesting crops that are possible here, but the image as shown is interesting enough just as it is.

Nice bird image with great details and excellent separation from the background.

I hope you don’t mind me being critical. I believe your intent is right—to provide context with a broader point of view, completing the story of a single piece by showing where it actually belongs. However, I’m struggling to see the piece as part of the bridge; to me, it just seems to be sticking out of the ground.

Other elements (motion blur, white car, etc.) are fine, they serve well the purpose you intended.

I enjoy seeing older images, they remind me to look at my own and I'm sometimes surprised as what I find hiding there.

Portal images like this are always appealing because they are an open invitation to step through an opening into another world. This particular world is not one I've seen but is how I might have imagined an Austrian winter in the city to be. It is almost monochrome, just the barest hint of color gives away that it's not, and it would look good as a fully converted monochrome, too. The distant buildings look impressively ornate, and the dark figures give Scale but also a sense of purpose and a sense of isolation. I might be tempted to remove the nearest round sign (?) which interrupts the road from serving as a clear leading line, and thus feels like a blockage.

This is better, I read @Kumsal 's comment about reducing the brightness of the foreground and I do agree.

That’s a beautiful photo—I loved it. The colour rendition of the APO lens is truly sublime. Your composition is strong, with space in the direction of the passenger ferry’s travel, the coastline dividing the scene through its middle, and a good balance between the upper and lower parts of the image.

I do love fog, and will get out before dawn to chase it when we have it, but it's become a rare occurrence. So I'm predisposed to like this image! I like the angle you've photographed from, showing the "lonely bench" but also the tiered garden beneath it from a similar angle as it would look from that bench. The colors are quite nice even though the atmospheric conditions are conspiring against you. There's plenty of detail, and the diagonal lines give the eye something to follow to weave a path back and forth through the image. Peaceful and visually pleasing.

I think it is a better image without the sign or whatever it was, allowing the road to be unimpeded. The remnants should clean up easily. I like the lamp. It contributes. It looks like a lamp in Austria ought to look. A Narnia type affair...

I'll try to explain what I see in the shot and why I like it. It's one of those that makes its point because of the perfection of the moment it was taken.
The corner point of the ceiling roof, the verticals of the bridge and the vertical of the figure are all beautifully aligned. It's like an arrow in the image establishing the relatively small figure as the subject while linking it to the much larger structure.
Then there's the cryptic message that reads left to right from the person's head. In doing so it also establishes a link with the person - either a thought or a comment applicable to them. Take your pick, either the human is insignificant and overshadowed within the huge concrete structure or the phone has isolated them to something cut off from the world around, or both.

For this kind of shot, I don't expect the kind of IQ perfection that I expect of a landscape image taken with the intention of making a large print (even so, I don't think it is blurred.) The image is still the image with all the elements that make up the image.
Sometimes some of us get lucky when we take shots and find the composition has fallen into shape for us. It isn't the case with Roel. I've seen thousands of his photos and watched him working. He really looks for lines and situations like this when he shoots and he finds them over and over.

Not an easy one but I prefer 2. It is the uninterrupted band of fog right across the image that seals the choice for me. The fog line repeats the pink sky line and the dark horizon line.There are similar but more muted east west lines including what I think are furrows and the white posts, along the bottom.
I can see why some viewers might like the tree on the right but I prefer the repeating unbroken lines.

I'm editing my post and this is the edit. Since writing the above, I've seen the posts that have cropped off the bottom of 2. The crop strengthens the horizontal lines lines admired in 2 and I agree that the cropped 2 is the best of all.

Excellent and even more so because we have the second image. The second image reveals the creativity that went into image one. It's one of the things I like best in photography. The photographer sees what everyone sees but didn't "see." If you see what I mean.
Shot 1 is carefully composed along with the shadow to make an arrowpoint that slices into the sea and sunset. Breakwater indeed. In setting it up, Rich has tucked the very edge of the sun behind the monolith and so avoided burn out. Shot 2 shows the wall in direct day sun is white. Shadow and reflectiondue to the time of day in 1 gives complementary bluegreys along with the gold.
I'd have cropped off the black wall edge on the right and I'd have been wrong. The black strip adds some very satisfying solidity to the block and the "Breakwater" text.

Amen to Pete's analysis.
When I looked at minniev's photo it reminded me of something. It took a while for my neurons to link up. I went back to look at the photo again.
John Everett Millais' Ophelia. Ok, minniev's lacks Ophelia, but otherwise....

It is interesting to compare Kumsal's photo with Alan's second image this week. Looking at them as abstract shapes and blocks of colour, they are almost the same shot. I agree with Daneland but I'd take a little off the bottom for the same reason David and Daneland have suggested a crop off the bottom of Alan's image 2.

The tilted tree simile from Daneland is spot on. It's a simile?
I like the three of them. The merest of washed out blues along with all the B&W in 1 and 2 adds cold my skin feels. There's an untidiness in the masses of fine detail in the three of them that makes them all feel bleaker. The river in 1 and 3 beckons deeper into the leafless arms of the trees. It's a black river. These aren't the grand scale winter landscapes that Fireplace shares, this is a landscape that's more intimate so I feel cold here rather than awe.
Much as I like B&W, I think I prefer 2 in colour. The brown reeds I think might get lost in B&W, There's no point of subject here. It is a study with four horizontal bands . In the middle two bands, I think B&W would lose definition whereas the faded brown still emerges. A really good B&W conversion, with careful control to distinguish the tones and then made into a large print, might be able to bring this off.

Nope, leave the lampost. There are lots of them on both sides of the road for it to visually link up with and besides, the housing on the top is talking happily with tops of the domes. But remove the sign. It doesn't link with anything and has become a visual blot.
If it was available, a touch more height would be nice. The sliver of arch at the top feels too thin. Or maybe if no more is available at the top, crop the sides in a bit more.
I'm halfway through Graham Greene's The Third Man so an older Black and White photo of Vienna is very appealing to me. I look at the shot and hear Harry Lime whistling. Along with the reducing lamps, The tonal progression from the solid blacks of the arch to the light greys of the domes is atmospheric. The progression down the slushy road does the same.
The kind of shot that will have growing historical relevance.