Image |
Comment |
| 02/07/2009 06:49:06 AM |
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Photographer found comment helpful. |
| 02/07/2009 06:37:40 AM |
Selfby CutterComment: The horizontal division suggests two worlds; the upper one clean and productive and utopian, and the lower one wanton and confrontational and unavailing. This young man seems to be considering the options. Or perhaps, having made his choice, considering his future. I like photographs as allegory and this is a particularly good one. 8. |
| 02/07/2009 06:20:17 AM |
Comfortable Zonesby WeJayComment: An appealing, natural portrait that proves that genuine feeling is the most important ingredient for making a durable portrait. The fact that both the light and the focus are a little more emphatic on the child than on the mother is a sublime touch, and adds a level of meaning and emotional depth that wouldn't be possible with 'even' treatment. I hope that that choice was intentional, because it elevates this well above the standard 'professional studio' fare. 8. |
Photographer found comment helpful. |
| 02/07/2009 06:12:49 AM |
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Photographer found comment helpful. |
| 02/07/2009 06:11:50 AM |
Murawai Beachby NuzzerComment: This is very good. The flag and the turn tracks must have been inviting, and you accepted their invitation beautifully.
Made me think of Sonny Fai too, who was lost not far beyond that horizon. |
Photographer found comment helpful. |
| 02/07/2009 06:04:29 AM |
Mistery by gibaComment: Someone (I think it was Eugène Atget) took a great photograph of Notre Dame through the branches of a tree. Yep, found it ... here. Yours is similar and has the same quality of lightness and even delicacy, which is quite an achievement when the buildings are in reality so monolithic. I suppose it's been done by someone else in between Atget & you, but yours is the first one I can recall seeing (I think) and the best one (I'm certain). 8.
P.S. Had you seen the Atget shot? |
Photographer found comment helpful. |
| 02/07/2009 05:54:58 AM |
Smile For The Birdieby Marc923Comment: This is a very nice portrait ... actually self-portrait, because I know who it is. So I should abstain I suppose but I have already pressed the number & I don't know how to un-vote. But if I didn't know who it is, I'd say it's a natural, understated and professional work, simple and all the more effective for that, and deserved at least the 7 that I gave it. |
Photographer found comment helpful. |
| 02/07/2009 05:40:39 AM |
Untitledby salmiakkiComment: This striking geometric coincidence is so unusual and even improbable, that it is somehow let down a little by the very bottom bit being so ordinary. But then again, maybe that's a good thing? Maybe the outrageous optimism of the top 95% needs the other 5% just to remind us that no matter how divine and celestial a thing appears to be, it's all just man's works in the end. 9. |
Photographer found comment helpful. |
| 02/07/2009 05:40:33 AM |
I saw how the night cameby dahkotaComment: This is a really lovely and absorbing image. Windows are so often something special in a photograph; they are the place where two worlds meet. And that's what I feel about this photograph ... that it's about two worlds, perhaps in conflict, maybe even in opposition. I feel certain, alas, that the shadows across the face, and especially across the mouth, are no accident. So it's a powerful and unsettling photograph. |
Photographer found comment helpful. |
| 02/06/2009 11:28:39 PM |
Photography 103by zeuszenComment: I opened all four in the series and flicked back and forth looking for ... something. The one I liked best, I suppose, although what that would prove I really don't know. This one's the most engaging for me (at least for today), probably because it's the most complex. But there is no 'best'.
The fact that they are looking in different directions here suggests different agenda, and thus different points of view. One sees unaided, one uses a camera. One walks unaided, the other not. So it seems right that they appear as one audience viewing two separate plays.
The man in the mobility chair looks upward, and the stairs explain it (and maybe mock him as well). But he doesn't look dismayed.
The man with the camera crouches and contorts himself a little (seen in 101 & 104 as well), and gives the impression that he needs to focus his body as well as his lens to get what he wants. I've seen others do that. I wonder if I do it?
Nice series. Seems like street theatre. |
Photographer found comment helpful. |
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