Hello All,
Apologies if this came through twice (doubly since it
is long). I get the list by digest, so I cannot
confirm my suspicion that my first attempt to send
misfired.
I've given my impressions of this weeks gallery below,
but first I'd like to say a bit by way of
self-introduction.
A number of years back I was a (mostly lurking) list
member and thought of myself as a medium to advanced
amateur photographer. Then I decided to return to grad
school. (I work on philosophical issues in formal
logic. Any list members suffering from intractable
insomnia are cordial invited to drop a line asking
what I am on about in my research.) Going back to
school, I found that my disposable income had
effectively been disposed of. Conceding to economic
necessity and with a heavy heart, I largely abandoned
photography and such skills as I had predictably
languished. Quite recently I splurged on a digital
camera and rejoined the list. I have been having a
blast ever since (thesis? what thesis?), and have been
kicking myself for choosing photography as the area
that had to be scrimped. (Did I really need to eat or
have electricity?)
My photographic interests tend towards abstractions. I
am most interested in form, texture and reflections. I
find reflections can both be beautiful (I concede that
those in my image in this week's gallery are not) and
that they emphasis for me that photography is about
light -- in some sense, a photography with reflections
has always struck me as partly about photography
itself.
On to my comments about this week's gallery. At the
risk of hubris, I will start with a few about my
image.
First off, I appreciate the comments that others have
posted. The reflections combined with the colour of
the clock face were what attracted me. What is
reflected in the clock face is the keyboard and CPU of
a friend's computer. (Interestingly enough it is an
Osbourne, made in 1981, and, as far as I can tell, the
first portable computer mass marketed. If I remember
rightly, the documentation raves that it weighs "less
than 24 pounds"!) The computer reflected represented
for me the thesis work I have so diligently been
avoiding; hence the title "Time Enough". The symbolism
there made me like it despite the flaws that were
(fairly) pointed out in some of the posed comments.
The big take-home message for me was that just because
an image is meaningful or appealing to the
photographer, it does not follow that it will be so
for the world.
David Small (N.Y.C. 2002)
While no great fan of street shots, I do like this a
fair bit. The comic quality is the most obvious aspect
of the image, but no less enjoyable for that. I think
that the metal posts the statues hands rest upon act
as something of a bridge between the statues legs and
the legs of the reading man. For me at least, this
adds to the comic effect by intensifying the sense of
echo between the two main figures. While much of the
setting is a bit cluttered, this is not a fair
complaint given the spontaneity of the moment. (I wish
I had such an eye for the "blink and you'll miss them"
photographic opportunities.) My main reservation is
that the truncated "SPECIA" sign on the right bothers
me a bit. But then, leaving it out entirely would have
put the statue too close to the frame, and I have no
idea what was just to the right -- perhaps something
more distracting still was being avoided.
Roderick Chen
This is very good and far enough beyond my technical
abilities that I can't even feel envious. I have the
strong feeling that it does mean something, but am
unable to settle my mind as to just what. That can of
course be a bad sign, but when an obviously carefully
composed and organized work makes me feel like that, I
conclude that there is a very good piece of art
challenging me. I have only two minor reservations.
The first is the broader white band and black fringe
on the bottom of the frame. Second, and for me more
importantly, I would like it more if the index finger
fit entirely in the "frame" of the skull along with
the other fingers. Still, I look forward to the
"problems" with my images being so minor.
Richard Cooper (Reflections)
As I said, I love images involving reflections, so
right form the start I am halfway there with this one.
I very much like how the "airiness" of the reflection
is "mirrored" by the translucency of the veil.
However, the overall effect is a bit diminished for me
by the cross-bars of the window. It wouldn't' trouble
me as much if there was not a convergence of lines
pointing directly to the reflection's chin. I agree
with Gregory Fraser's comments about the veil being
puzzling. At least I do if we mean the same portion of
the image -- I am puzzled by the less transparent
triangle formed by the lines of the extreme edge of
the veil and its reflection. I (tentatively) conclude
that the reflected image was added in the darkroom, be
it digital or wet. (I do not have a practiced eye for
this though. Am I right?)
Gregory david Stempel (The Farm)
I agree with previous comments that a monstrous print
would be breathtaking, but it comes close enough to
making me gasp even when viewed on a small and old
monitor. I very much like the sense that the colour
immediately above the horizon is a strip torn out of
the black, and the circle of light in the clouds adds
to that sense ("And the sky is torn asunder . . .") I
also like that I alternatingly convince myself that I
can just see shafts of light bathing the middle third
and then that I cannot.
Marilyn Dalrymple
I have seen a number of other images by Marilyn, both
recently and from years ago when I was on the list
before, so I know this isn't her typical submission.
(That I remember some from years back tells me that
many were quite good.) It could be largely because I
am on the dog side of one of the oldest of arguments,
but the shot does little for me. It seems that this is
one (like mine) that means much more to the
photographer than the world at large.
Dan Mitchell (Boxes)
I can see why Dan was attracted to both the pattern
and the colours, but the colours ended up a bit too
washed out to sustain the effect, I think. Holding a
piece of paper up against the monitor at the left of
the photo I cropped out the rectangle of background at
upper left and felt like that improved the image. What
was two slices of background detracting form the
effect became an interesting sliver of the world
cutting though a pure plastic "still life".
Christy Bright (Souvenirs)
I very much like how the various colours of light
makes the skates seem to glow. I also like the way the
bulbs on the left act as a second frame. However, the
background seems a bit too heterogeneous and distracts
from the effect. (Of course, for me to complain about
distracting elements likely has a few gallery viewers
thinking "physician heal thyself". And perhaps I am
just bitter and envious that Christy has a new G2,
whereas I have but a new S30.) It is unfortunate that
the two elements of interest (for me at least) are so
disposed, because cropping out the background would
not only take away the bulbs, but also the explanation
(and thus some of the interest) of the colour of the
skates. I also would like to see a bit more of the
blue hooks (if more there was to shoot). As it is,
they make a nice colder contrast to the glow of the
main subject.
Greg Fraser (Fall)
This just edges out Roderick Chen's contribution for
my favourite in this week's gallery. I very much like
that while I can tell what was shot, it takes an
effort to work it out, and even having done so, there
is room for a gestalt shift were it seems something
different. (I keep almost seeing wet or matted hair.)
I also like how many of the leaves (particularly those
in the bottom left) have a ghost-like quality. The
only thing I would suggest would be a slight crop on
top to make the upper border of the image follow the
wood as much as possible.
Brian Chandler (Botty)
While I can see the humorous appeal, there is, in my
opinion, a lack of life or punch to the image. While
the red flag does add some impact, since it is
incidental to the real subject it feels like a
distraction. Perhaps if the statue were lighter I
would feel differently.
King/Arthur (Up/Down)
This image reminds me a good deal of some of the
sequences in the film Waking Life. I admire the skill
with which PS was used here. It takes what I imagine
must have been a fairly unremarkable straight shot and
makes something of it. But I do feel that employing
that skill on a more solid starting point would yield
something more interesting.
D.L. Shipman (November Pumpkins, Englewood 2002
This is well composed and the bottom left to top right
snaking diagonal is very effective. The colour
troubles me. It is far enough from "right" to be
noticed, but close enough to feel like a miss. But I
keep wondering if that is a fair judgment -- I doubt I
would feel that way if the subject were not so
familiar and connected to a cultural role (But
pumpkins are _supposed_ to be orange, dammit!)
Thanks to all this week's contributors for the chance
to comment upon their work, and to those who took the
time to comment upon mine.
Brian van den Broek
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