When I noticed this juxtaposition, it reminded me of Bernini's fountain in the Piazza Navona (with one of the figures turning away his rival's church)...
this is a fascinating image...especially with the background image overlooking the statue...was that how you captured it or was it like that? I almost think you could crop the top to just above his eyebrows eliminating the white building face that does distract from the image....it would also give the image a bit of mystery allowing the viewers eye to drift from statue to his eyes...excellent image, BTW
Patricia; don't know if I'm qualified to comment on this subject, but what it reminds me of is "art appreciation 101", and the statue of the woman as very "Rubenesque", as compared to the tall thin models of today in the U.S. I think the photo is nice though with good exposure, and I especially like the soft shadows while the background puts it in perspective.
Pablo's been accused of many things. But I wouldn't be surprised if this if be first time he's gotten a voyeur rap.
Thanks for the comment on "Gotham." Actually, thanks for ALL the many kind comments recently.
I've noticed photographers working in relatively small local markets tend to be pretty tight-lipped about their techniques, while those in national or international markets such as NY, Paris, & LA are somethimes more generous in sharing their knowledge. I've been using PS for 10 years and still have a lot to learn -- as Dave Martenidnez demonstrated convincingly to me the other day ("Reflected State").
How vididly I remember the frustrations of working on an image for hours, sometimes even days, and then hitting a point where the program no longer worked. Usually, it was a simple reason -- I had made a selection and forgotten that I had hidden the "marching ants," or I had the wrong layer (or perhaps the right layer, but the wrong layer mask) active, or I had inadvertently toggled some inconspicuous swtich such as the "use all layers" option for the clone tool.
If it can go wrong, it will go wrong, and usually at a time to cause maximum angst. As a result, I have great empathy for anyone embarking down the PS path and am willing to help out in any way I can.
It's not entirely altruistic either. I've found the time spent recalling and writing up these brief descriptions of my PS contortions is usually well spent. It makes it much easier for me to recall a sequence of steps or specific technique the next time I need it.
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{K:15732} 10/7/2003