Commons:Featured picture candidates/File:Stiftskirche Melk Deckenfresken 01.JPG
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File:Stiftskirche Melk Deckenfresken 01.JPG, featured
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Voting period is over. Please don't add any new votes.Voting period ends on 27 Sep 2014 at 06:27:07 (UTC)
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Info Total view of the ceiling of Melk Abbey Church with the frescos by Johann Michael Rottmayr, painted between 1716 and 1722. Photographed, uploaded, and nominated by Uoaei1 -- Uoaei1 (talk) 06:27, 18 September 2014 (UTC)
Support -- Uoaei1 (talk) 06:27, 18 September 2014 (UTC)- Support I lost my pictures of Melk (and Austria), but I didn't take this one anyway, I think it's well done because it wasn't that easy, big ceiling. --Kadellar (talk) 08:53, 18 September 2014 (UTC)
- Support Poco2 10:57, 18 September 2014 (UTC)
Question I respect the technical quality of the photography and the mastery required to architect/paint such a ceiling but I'm not sure how you guys can look at this photo without feeling oppressed? I find the abundant light harassing and the whole being like a spam of details to look at without any exit point for the eyes... I'm feeling trapped inside a maze. I even feel like it's going to fall on my head—I didn't think I would be that sensitive to a bunch of pixels but it litterally gives me difficulties to breathe. And from a more technical point if view, it seems to be a bit blurry. That was the useless point of view from someone who don't know how to appreciate church architecture/painting in general (and even more than that). -- Christopher Crouzet (talk) 13:41, 18 September 2014 (UTC)
- Info It is true but I feel good to be able to enjoy every detail of the frescos, especially the upper half portion. It would fall would be a happy death, just a joke (divine grace). -- Lauro Sirgadocontribs 22:32, 18 September 2014 (UTC) (whoops unsig)
- Info My intention was to give an overview of all the ceiling frescos. I understand that viewing the result can be overwhelming, and I feel this effect is stronger in this compact view in one image than standing in the church with about 60 meters length and watching its ceiling. And I suppose that it was the intention of the painter - as a theological message - to show a crowded heaven. If you feel that details are a bit blurred, please keep in mind that the painting itself is intended to be watched from a distance of at least 20 meters (the height of the church). --Uoaei1 (talk) 13:06, 19 September 2014 (UTC)
- Thanks for the info! Regarding the blurriness, I actually noticed it on the golden ornaments on each side of the picture—maybe due to a slight movement when taking the photo? (which might easily happen with a 1/2s exposure time, regardless if using a tripod or not) -- Christopher Crouzet (talk) 13:59, 19 September 2014 (UTC)
Comment Christopher Crouzet: It is a refreshing viewpoint. You are articulating some of the same feelings I get when seeing the photo, although I would not have managed myself to express it like you do here. -- Slaunger (talk) 23:01, 19 September 2014 (UTC)
- Support Great, and the brightness was nice IMO -- Lauro Sirgadocontribs 22:29, 18 September 2014 (UTC)
- Support --XRay talk 11:32, 19 September 2014 (UTC)
- Support Very nice. Great document. It is a bit crowded but if the original work of art is crowded, the photographic rendition should be, too... --Arturo de Frias Marques (talk)
- Support Basik07 (talk) 22:42, 21 September 2014 (UTC)
- Support Very imp/opp/ressive. Even if I'm roman-catholic, I'm with Christophe Crouzet and Slaunger here. That's (south-germanic world) baroque !!--Jebulon (talk) 09:50, 22 September 2014 (UTC)
- Support --Böhringer (talk) 09:37, 24 September 2014 (UTC)
- Support --Halavar (talk) 19:30, 25 September 2014 (UTC)
Confirmed results:
This image will be added to the FP gallery: Places/Interiors
