We Have Been Waiting for You

I hope the elves don't mind if I put a link here to another of David's shots:

 

http://photo.net/photodb/photo.tcl?photo_id=8320352

 

As always, one of the ancillary benefits of Photo of the Week is that sooner or later one goes back to look at the photographer's other work. In this case, one will not be disappointed.

 

--Lannie

I agree with the two points presented by Art X, which make this picture really special. And yes, a 14mm angle and the full arch would have been great, as David himself explained. Definately a great place to take pictures, and this is well taken. As for the perspectives... I used to have a very wide angle on a large format camera, and could imagine trying to correct the present distortions with it - but only to a certain point because it had fairly reduced shift and tilt capabilities. You'd need a top notch large format with amazing movements or some very extraordinary PC (perspective correction) lens to correct such distortions: not sure whether such equipment is even available somewhere, because that's not really my field, but I suspect, that if you were to correct these distortions 100%, the picture would end up being less appealing, and by no means more appealing. To me, the "strangeness" of the distorted floor in the foreground is a great way to "enter" this room, as we enjoy a more and more realistic room when moving into it with our eyes. Very nice pîcture, and a very nice portfolio too... All the best, David.

Anders wrote - "Does it give meaning ? Is it worthwhile reflecting on who is waiting for who and why ?? Or is it all there for its forms and technical photographic challenges ? I believe the latter is the case, but I find it a pity because the talents of the photographer are obviously present but his photos and maybe this in particular would be even more interesting if the scenes have more to deliver and communicate to the viewer apart from immediate beauty and aesthetic qualities and the admiration that he managed to answer by 7/7 the challenges of the task he set himself."

 

Dave said in reply - I totally agree with this answer, yes it is because of its forms and technical photographic challenges, I was there for the architecture, the beautiful space that this room presented and my immediate attempt at getting the shot, technically and responsively. It was an impossible scenario and its the caption that sprung from the image as I processed it. I never never have the time to make the images 'say' deep and meaningful things intentionally, as I dont put myself in these head spaces very often. My photography often lacks the depth many other photographers love to see in classic portrait imagery (for example), the juxtaposition, the tradgedy, the intensity of contradiction.

 

But that is what I do, its all about following your instincts and I try to do that all the time. I feel perhaps the context of my work would have to take a total about face for me to add this mojo ingredient, I would need a new context. I got into this to earn some money so I could travel the world and buy some lenses, I am not a classic artist. I would love my work to become 'possessed' in this manner...

 

Photography is all about fishing in the rivers of opportunity. Thanks to all for the depthy analysis and flexing the digital pen. This is a site like no other and I am very grateful for the feedback.

Marc G - To me, the "strangeness" of the distorted floor in the foreground is a great way to "enter" this room,

 

David - I totally agree, it almost made my head spin when I processed the shot it is so precise, Gaudi must have been very pleased with the result. The repetative pattern has beautiful linear qualities that are quite abstract indeed. It is the strongest element in the room I think. I am sure we used to have these tiles in the kitchen of our old Devon council house when I was a boy, my dad smashed them all up when we laid some 'lino' in its place!

Initially, I did not see the title yet was drawn into the photo finding it very interesting artistically. The variety of texture is intriguing. The more I studied

the photo, the more I saw. Once I realized the title of the photo, I felt pulled out of my sense of intrigue and found it difficult to regain my sense of

adventure experienced at the outset.

I believe, though I may be wrong, that this is an art gallery. The 'screen' in the back is actually a piece of art being displayed and the spaces between the arches are spaces to display art. The arches themselves provide some privacy to the viewer. Considering the irregularity of the room, this must have been a difficult capture. The distortion on the floor doesn't bother me one bit. In my opinion, this is a really exceptional example of interior photography. The photo makes me want to see the room for myself. Very well done.

Having reviewed the portfolio I really do commend David's 'eye' and technical expertise. However I must comment on

the titles. Contrary to the editors opinion I think they send far too significant a message. In short, if you create a

tricksy title, then review it in 6 months it can seem rather naff and inappropriate. The strength of this image is the

'form' the architecture and the enigmatic placing of the furniture. This is what you interrogate. A simple formal

description that remains as neutral as possible would have been much better.

 

Another rather naff point... the signature. Hopefully placed as a copyright spoiler. The gestural arty signature tends to

make the image 'look' like art.

Jerry wrote - "In short, if you create a tricksy title, then review it in 6 months it can seem rather naff and inappropriate." I think this isn't the case. Often a caption with a sense of the surreal or fiction can back up the imagination even further. I often try to give a sense of explantion in just a few words without having to write a description. I think the exact opposite actually, having Casa Battlo Loft II would be rather dull indeed and it is this sense of expectation that I felt I conveyed in the title. I think it would be dumbed down with just a boring record shot title.

It's an outstanding photo. I find myself more in harmony with those who prefer it without the allusive title. I've always felt (paraphrasing an

old bromide about music) that photography begins where words leave off. I also agree that something like "Untitled XVIII" would be a real

eye-roller as well. Perhaps it's best to trust your audience and not be too specific about how you want it interpreted.

I think that all the technical pros and cons given in this discussion are great and operate on a very mental level. Having said that, what draws ME into this photo is all the different colors of light. David said something like he wasn't a classic artist...I disagree. When you can capture all those colors of white and make illumination so real that you can taste it, you're an artist of the highest order.

When I remember how the fluid the work of Antonio Gaudi, I think the impression of the tiles "sliding" away does not distract at all. If it were possible, I can see Gaudi looking at this image and smiling. I think this image is wonderful (as I do the work of Gaudi). The table and its placement is both suggestive and provocative. As for the top of the arch being cut off, its impossible to get the whole room in, the arch going out of shot suggests to me that there is more to this wonderful room. The screen at the back is the the only negative aspect.

 

Great work David Clapp

I think that the distortion of the floor adds to the character of this photo. The walls are asymmetrical, and defy linear perspective, while the floor is completely regular and repetitious. the distortion of the floor gives it a surreal quality that enhances rather than detracts from the ambience of the pic.

My first venture into this forum has been drawn by a superb piece of architectural photography from David Clapp, which for me is not just a "record", but also a very pleasing image in its own right. I am grateful for the details of the equipment, which is something I find lacking in this site, or as a new member I haven't yet discovered how to access. I also wonder whether a tilt/shift lens could have helped with this location. I'm a Nikon nut and use the Sigma 12-24 DG and a 24mm Nikon PC-E on a D3. I wonder how they would have coped? Reading about the physical limitations of the location adds to my admiration of choice of framing - thanks Elves - an inspiring choice for POTW for me. Well Done David.

David Clap wrote:- "I never never have the time to make the images 'say' deep and meaningful things intentionally, as I dont put myself in these head spaces very often. My photography often lacks the depth many other photographers love to see....." I still think you are not doing justice to the images with your titles. The best photos have deep meaning and clearly you have captured the space by using your head. This is intention not accident. Having reviewed your portfolio you tend to use some very flip and obvious titles that act 'indicators' that send the viewer in a jokey or flip direction. "Casa Battlo Loft II II" tells me what the subject is, I am then left to infer from the image your take on it. The simple title may be boring but it is subservient to the image and identifies the images content without sending any of the wrong messages. Gaudi has to take the first credit for the incredible building which you have recorded and represented superbly. Look at some of your other titles. "This seats taken", "Where It All Began","Minor-lith", "Me too", these all reduce impact the image considerably by flipping the content into a trite joke. Trite they are not. As you say you 'never have the time'....so maybe......

The colours of the light here suggest daylight balanced light source as soft Fill a stop or two under the white-balanced or colour correction filtered niche toplighting in places. The strangeness of the place's details are raised with the camera's optics or post production image processing - I can't tell for sure which without image specifications. What an odd waiting room! The corner opposite the camera appears to have niches projected. I've not noticed projection so clearly reflected before this and I have identified a subject category that I assign images to called Reflection. The floor tiles reflectance is not uniform. The signature on bottom left is facsimile like too. So, if pushed, i'd say that all these picture elements and the forgrounding of that stretched-edge floor sloping accentuates ideas of curved light universality with some sublimity.

The first that impressed me in this photo is the very attentive light metering, that brought as a result, a precise exposure.I suppose the place is an art gallery and the photo shows off the elegant architecture with all these arches and the reflective floor.It's a work of a pro.Regards

To find such outstanding architecture is the one thing. To find such a perfect view is the other. That's art at it's best. And a real great shot - I love it!

This is very beautiful space that connects futuristic and classic style together. Which building is it and where is it, are the questions that rise when I look at it. And who are We? I haven't seen such a great lightning until now.
7/7.

A brilliant capture of a wonderfully elegant space. I love the light, curves and lines and I also love the title, which to my mind really fires the imagination. Regards, Tina.

I like the shot, let me say first. What I like is the architecture. I'd also like to know how you where able to get this shot, where you hired to do it or did you sneak the shot?

 

What bothers me about it is the hot spot in the back and the light that is blown out to the right near the edge. The darkness of the floor and "falling off of the floor detracts from the shot. The name to the left draws attention the that part of the floor also.

 

A good interesting shot.

David,
I want to step into this photgraph and dwell there forever--and I feel that I can do just that--love the curves...so sensual. Congratulations!

one of the best photos that I have ever been seen and magnific composition

Almost perfect.