Commons:Featured picture candidates/File:Japanese white-eye at Tennōji Park in Osaka, March 2016.jpg

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File:Japanese white-eye at Tennōji Park in Osaka, March 2016.jpg, featured[edit]

Voting period is over. Please don't add any new votes.Voting period ends on 21 May 2016 at 18:16:53 (UTC)
Visit the nomination page to add or modify image notes.

Japanese white-eye at Tennōji Park in Osaka.
  • Thanks, better but there is still a bit of CAs on the bird, I will stay neutral even if it is corrected as my concern is more the visual prominence of the flowers, though this is far not a bad image! :) Christian Ferrer (talk) 11:24, 13 May 2016 (UTC)[reply]
  • Tried on thirds rule also yesterday, but right parts spoils, then tried central crop... actually nothing was so good. Central get disturbing parts away, but spoils compo...--Mile (talk) 08:58, 15 May 2016 (UTC)[reply]
  • Laitche : I pick up photo i made few crops day ago. Maybe portrait worked, but i knew you want white roundish which is good color here, problem is they are all around; focus in a bit, more goodly out, and some in front. Problems are those in front. --Mile (talk) 08:42, 15 May 2016 (UTC)[reply]
  •  Support --LivioAndronico (talk) 08:54, 15 May 2016 (UTC)[reply]
  •  Neutral - I guess I was reluctant to vote on this because I like your sensibility so much. The bird is beautiful and the parts of it that are in focus are impressive, as usual. However, the right wing is drastically unfocused. There's a nice artistry and composition to the picture in general and it reminds me somewhat of some of the avant-garde abstract photos of yesteryear that featured streaks of light. If this were a purely abstract picture in which everything was blurred for artistic effect, I might like this composition enough to support it, but the juxtaposition of (a) a subject which is partly very sharp and partly very unfocused, on a mostly in-focus branch, with some recognizable flowers and (b) streaks and blotches of out-of-focus light near and far, is a type of composition that I have a harder time with. That might be a regrettable lack of flexibility and understanding on my part; I'm not sure, but I like to feel there are clear artistic reasons for choices on how clearly figurative or abstract parts of a composition are, and I haven't figured out why you'd want to have this kind of juxtaposition of great clarity and drastic blur even within the subject.

    By imperfect analogy, I heard a performance of Arnold Schoenberg's 2nd Chamber Symphony last night. It's an interesting work that deserves to be performed, and I'm glad I heard it. But while I loved the ending, I found the degree of tonality in the work to be inconsistent, without my understanding a clear reason for that inconsistency. By contrast, in Verklaerte Nacht, there are programmatic reasons for the degrees of consonance and dissonance throughout, and then there are the atonal (or, to Schoenberg, pantonal) works that never have cadences on triads, and I love many of those works, too. So no pro or con vote here, just a commentary. I wouldn't say this is or is not up to your usual standards; it may prove to be an important transitional photo in your oeuvre, and I respect it for what I see it to be but I'm not sure it's fully realized. -- Ikan Kekek (talk) 09:11, 15 May 2016 (UTC)[reply]

  •  Support --Balles2601 (talk) 14:51, 16 May 2016 (UTC)[reply]
  •  Support now. --Code (talk) 05:26, 18 May 2016 (UTC)[reply]
Confirmed results:
Result: 11 support, 3 oppose, 2 neutral → featured. /George Chernilevsky talk 07:10, 22 May 2016 (UTC)[reply]
This image will be added to the FP gallery: Animals/Birds
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