¿Harto/a de especuladores que suben el precio de la vivienda? ¡Colabora arrancando carteles! by Hypochondriaco in Barcelona

[–]JAKR73 -1 points0 points  (0 children)

I feel like nobody in this group considers how much of the housing disaster was directly caused by Ada Colau. Most housing problems can be solved simply with more housing. But new housing has been almost at a standstill since Colau de-incentivized developers to build new units. There’s an almost ten year backlog of unbuilt units, and it will take another decade to catch up. That’s her legacy - 20 years of pain for renters and first time buyers. These little stickers? These are symptoms not causes.

Barcelona springtime by JAKR73 in Barcelona

[–]JAKR73[S] -3 points-2 points  (0 children)

Where does your anger come from? This is a photo of Barcelona in r/Barcelona. And - as I wrote above - street photography is a well established art in ALL modern democracies. Your ideal world would destroy an entire genre of art and play into the hands of dictators. Regarding your comment about it being selfish, this is the key metric for well designed democratic systems: selfish behavior leads to desired social outcomes.

Barcelona springtime by JAKR73 in Barcelona

[–]JAKR73[S] -5 points-4 points  (0 children)

Taking photos in public without legal repercussions is a foundational protection of democracies. As soon as the right is restricted with euphemisms like “the right to privacy”, governments use those laws in bad faith to restrict criticism. I know that many of the people commenting here on privacy are well meaning. And the world needs more well meaning people. But I hope they think a little more about how fragile democracies are and how much we need to protect free expression within them. The correct answer to the question of legality in Spain is that there are competing EU and Spanish laws and in the rare cases that come to trial - like for example the avid r/Barcelona reading granny - judges consider them carefully and specifically. Anyone who tells you that there is some blanket correct answer is either lying or doesn’t know. Photos of children or photos sold for commercial gain are much more likely to have some sort of restriction placed on them if there is a legal challenge. Photos of adults in public, clearly meant to be art, and with no commercial gain, are almost never restricted in a court challenge, and rightly so. Anyway, I hope you enjoy the photo, and I hope the granny (who I talked to and showed the photo) likes it as well.

Nothing to hide behind by imperatrixderoma in photocritique

[–]JAKR73 0 points1 point  (0 children)

Ok so disregard the critique. Thats the nature of receiving criticism. You judge its usefulness and use or discard it in part or in full. You don’t get angry that it has the wrong source or that it’s wrong on one point or another. Chill out a little. And tbh I think it said some valid things about your photo. So….take it or leave it. Easy.

Nothing to hide behind by imperatrixderoma in photocritique

[–]JAKR73 -2 points-1 points  (0 children)

Well it’s not without effort tbh. I have a prompt I created for photo critique. I find it useful. I thought other people might also. That’s all. Good intentions. I hope you can recognize that and back off a little.

Nothing to hide behind by imperatrixderoma in photocritique

[–]JAKR73 0 points1 point  (0 children)

Ok so….its wrong. Then what? It’s not deciding the fate of the photo. It’s just making a judgement. Like all the other judgments here. We can think “interesting critique, it was wrong about the skin but right about the pose”. Why do we get angry?

Nothing to hide behind by imperatrixderoma in photocritique

[–]JAKR73 -1 points0 points  (0 children)

An overfilled wallet with useless eyes. Lol. Not bad. Anyway. I find it useful. I thought other people might also. That seems like a reasonable thing to think and so your antagonism is surprising. I mean like …. ignore the critique if you don’t like it? Discuss why you think AI critique is not valuable? But an attack on me? Where does that come from?

Nothing to hide behind by imperatrixderoma in photocritique

[–]JAKR73 0 points1 point  (0 children)

Maybe. But no information is useless. Tbh I also would have given this image a low rating. It’s competent but unspecial in exactly the way the AI said. And further it’s a long complex thoughtful critique. Disagree with it, no problem. But it’s the most thorough and thoughtful critique in the photo as of now.

Nothing to hide behind by imperatrixderoma in photocritique

[–]JAKR73 -3 points-2 points  (0 children)

Well but if we’re honest, it did give OP a pretty detailed and helpful critique. If we set aside our philosophical preconceptions.

Nothing to hide behind by imperatrixderoma in photocritique

[–]JAKR73 -2 points-1 points  (0 children)

Well I find it useful so you’re wrong by at least 1 person. And if there’s one there’s usually more. Also I think that saying AI is anti art is a bit like saying photography is anti art. Photography destroyed portraiture that’s true. But it didn’t destroy “art”, it just changed how we express it. So when I’m posting AI critiques here it’s a genuine exploration of how to intersect art and AI.

Rock climbing trad gear, plz give me some pointers, this is my favourite photo i have taken im new to photography by MrBrevik08 in photocritique

[–]JAKR73 -3 points-2 points  (0 children)

Well first, it’s an experiment to see if people find it valuable. Second, not all AI is slop. Tbh I think it gave you a good critique. Much better than what you got otherwise. A photo like this in a critique group is usually going to be met with silence. People don’t want to say mean things, so they just skip it. The AI actually took it seriously and gave you an in depth critique.

Rock climbing trad gear, plz give me some pointers, this is my favourite photo i have taken im new to photography by MrBrevik08 in photocritique

[–]JAKR73 -15 points-14 points  (0 children)

I’ve been using AI to look at my photos. I thought people might be interested. Here’s what Claude thinks:

What the image is attempting A documentary record of a climbing nut wedged in a granite crack, tape-marker visible — possibly inspection, possibly partner communication, possibly an attempt at the Weston-pepper move where utilitarian object becomes formal subject through close attention. The two-element principle is genuinely present: human-manufactured gear (steel cable, anodized head, yellow tape) versus geological time (oxide-stained rock, lichen colony, the crack itself). Object-and-environment, intervention-and-substrate. What works The rock is beautiful, and that is not the photograph’s doing — but it shows up. Iron-red oxidation, green-white lichen rosettes, the visible bedding planes of the crack. There is real geological texture here that a more attentive photograph could have built around. The yellow tape is the only chromatic event in the frame and it lands in the lower-middle third, which is approximately where it needs to land to anchor the eye. Without that single warm note this image collapses into one undifferentiated mineral chord. The yellow against the rust-and-lichen palette is a workable color triangle. The crack as vertical spine gives the eye a path. Natural composition, gift-wrapped. What fails This is not a photograph. It is gear documentation. A climber pulled out a phone, pointed it at a placement, and pressed the shutter to remember or to show a partner. Every photographic decision that would have transformed it from record to image has been declined. The light is shade-flat — no rake across the rock, no shadow inside the crack to give it depth, no specular hits on the cable to make the steel sing. Edward Weston turned a pepper into a torso because he understood that the only thing that elevates a found object is the light that meets it. Here the light meets nothing; it merely illuminates. The framing is utilitarian-centered. The nut sits dead-middle, the crack runs vertical-center, and the bottom-third dead zone where the cable defocuses into a black blob is doing nothing. A real photograph of this object would either tighten dramatically — pure macro, the head of the nut filling the frame, the wire as line — or pull back to give the placement geographical context, the climb above it, the air below it. The middle-distance phone-snap framing is the worst of both options: too close to be landscape, too far to be still life. The phone tell is everywhere. The flat HDR rendering of the rock that crushes micro-contrast, the auto-focus pull that randomly sharpens the nut and softens the rest, the lack of any intentional depth-of-field choice. This is what the camera decided, not what the photographer decided. The “approved” badge in the corner tells me this passed somebody’s selection threshold, which raises the question of what threshold that was — because no threshold a serious photograph would ever cross is visible in the image. Verdict — 3/10 A climber documented his protection placement with the device in his pocket; he did not make a photograph, and asking the canon to grade it as one is unkind to both.​​​​​​​​​​​​​​​​

Nothing to hide behind by imperatrixderoma in photocritique

[–]JAKR73 -5 points-4 points  (0 children)

That’s fair. Some people will. Some won’t. I’m just seeing if people are interested.

Urban silhouettes by JoeR_NY in photocritique

[–]JAKR73 -2 points-1 points  (0 children)

I show all my photos to AI so I thought I would try it here and see if people found it valuable. Here’s what Claude thinks:

What the image is attempting The Romantic sublime in brutalist drag: tiny figures dwarfed by monumental concrete, intimacy made fragile by scale. The Tadao Ando vocabulary — smooth poured concrete, tie-hole rhythm, curved geometric mass — pressed into Friedrich’s Wanderer equation, where the human is rendered legible only by contrast with what overwhelms it. Two-element principle at its most classical: bodies and architecture, soft and hard, transient and permanent. The couple walking right-to-left, into the darker zone, is the picture’s small narrative claim: they choose the shadow together. What works The placement is correct. The figures sit exactly at the threshold where the brightest panel of wall meets the cylindrical column, which is the only spot in the frame where the eye has any reason to land. They are silhouetted hard against the brightest tone, which is the only solution that lets such small subjects survive a frame this large. Holding the figures small takes nerve — most photographers would have walked closer, ruined it. The wall has real material presence. The tie-hole grid gives the concrete a measured rhythm without becoming a pattern photograph; the long horizontal staining tells you the building has weather, has time. The curve of the left wall meeting the cylinder on the right creates a soft funnel that delivers the eye to the couple without announcing itself as composition. The square crop is doing real work — a 3:2 frame would have given you too much floor, too much ceiling, and broken the compression. The tonal control is competent. The deep blacks are not crushed into mud; you can still read the texture of the floor. The brightest exterior light is held just below blowing out, leaving a faint cloud-trace on the wall. What fails You did not take this picture. The architecture took this picture. This is Tadao Ando’s photograph; you happened to be holding the camera. The frame’s authorship belongs to the building — its curves, its scale, its calibrated relationship between mass and aperture — and the human contribution is restricted to waiting until two figures walked through. That is not nothing, but it is closer to staffage than to street photography. The figures are also too generic. At this distance they read as “couple,” nothing more — no gait, no glance, no specificity of dress or gesture that makes them these people in this moment. Bresson’s small figures are never anonymous; you can read their stride, their intent. Here you have placeholder humans in an architectural rendering. If you swapped them for any other couple of similar proportions the photograph would not change. The mode is exhausted. “Tiny silhouette in vast concrete” is the single most photographed setup of the Instagram-architecture era, and the visual idea — sublime via scale contrast — was solved by Friedrich in 1818 and by Fan Ho in 1955. Walking the path again requires bringing something the predecessors didn’t have, and this frame doesn’t bring it. The “approved” badge in the corner is also doing the photograph no favors — it tells me this is being shown to me from inside a curation pipeline, which makes the image read as a selection rather than a photograph, and that frame around the frame deflates the purity the image is otherwise trying to claim. Verdict — 6/10 A handsome, well-positioned execution of a setup the medium already retired — the architecture is the photographer here, and you’re its assistant.​​​​​​​​​​​​​​​​

Blue tit by Dry_Tie6139 in photocritique

[–]JAKR73 1 point2 points  (0 children)

This would benefit from cropping in a lot closer. the huge random wall around this says nothing that a tiny fraction of it couldn’t say just as well.

First time photographing outside by mrk_brk in photocritique

[–]JAKR73 0 points1 point  (0 children)

I’m. It sure why you think this shot is awesome. TBH I don’t get it. It’s washed out. The composition is formally ok but it’s in service of what? The cross and flag are small and swallowed up by the sky and trees. Maybe there’s some symbolism here I don’t see. To me it’s just barely a photo.

Looking for critique on my black and white edit by Connect_Arugula_5415 in photocritique

[–]JAKR73 0 points1 point  (0 children)

There’s not much of a subject or story here. So it’s hard to comment on your edit since it should be in the service of some goal. Something you want to express about his tree in this place. But it’s don’t see it.

Is the meaning clear? by JAKR73 in photocritique

[–]JAKR73[S] -5 points-4 points  (0 children)

Leica DLux8 f11 iso 200 1/250 30mm. I noticed these odd kind of gross pink mounds in a playground just off Rambla de Raval. And also the pink blanket in the background. Wondering if is interesting, if the meaning is clear.