Foundry Worker #1

Why does the possible assignment of the subject matter? It seems that we've arrived at the conclusion that to get access, it must have been some kind of assignment. I still don't see how that should alter the way we judge the photograph at hand. So what if its a boring assignment? Does that mean originality should be tossed out the window - or should the photographer overcome that? Also, its an incredibly important part of a photographer's career to seek interesting assignments. Finally, you could look at nearly any photo and figure out why it might be an assignment - its just not something to consider.

Again, if the nature of the job dictates that the photos be unoriginal, why should we lower our expectations? I'll agree that most clients are going to want something they easily understand, and have therefore seen before. This doesn't necessarily mean the photographer can't take the pics they want, it just means they have to do that in addition to what the client wants.

I think you're misunderstanding my use of the word "praise". Yes, he took it to get praise from the client - which insures payment and future jobs. I think he uploaded it to photo.net in order to get praise - he certainly has gotten it. The amount of constructive criticism is very low in comparison to the number of "great shot!" comments. I've stopped uploading my own work because of this.

I think the highest forms of photography in any genre are fine art. Are the POWs the highest forms of photography? I don't think so, but they're often presented and defended as such.

Moderator comment: Just a reminder to some that have not realized that the POW has not been picked as "the best" on Photo.net for quite some time now...but as a worthy image for discussion. Furthermore, the POW page is not the place for policy discussions. There are forums for that purpose. See Patrick's link for guidelines for posting at the top of this page please and let's keep the comments about the POW image.

I absolutely love this image. What makes it great is the statement that was captured in the subject. This guy works in a foundry. He has better things to do that have his picture taken by some annoying photgrapher. The glasses are a MUST. They fully enhance the cold, uncaring vibe of the workers espression. Some people might say you need to capture the work to tell the story of this guy. Here, the guy says it for you. "I'm busy and don't have time for a stupid picture." Regardless of what this guy does there, it fully communicates the down-to-earth, get-the-job-done work ethic of an industrial workplace.

 

Oh yeah, the lighting and layout are excellent too. Excellent eye.

I agree with Matt about originality. Personally, I just don't put as much stock in originality as a redeeming virtue. Shakespeare said it when, likey frustrated by this fact, "There's nothing new under the sun." The trick is to recast what's already been done in a way that's meaningful for audiences NOW. I don't think Ian's picture does this, but the fact he can mimic a certain aesthetic that's already well-established means he might also be able to transcend it. That's where being constructive is important.

I can't rate this photo highly on originality (not low either - just average). What about aesthetics? I love this photo for at face value. The composition; the main subject; the blurry background subject and the quality of the blur; the tonality; and most important of all - it caught my eye when I saw it. So here we have something that's not original, but still catches the eye. Yet another photo might catch my eye just for it's originality - perhaps even one which has less aesthetic appeal. I think the important thing for a photograph on photo.net is that it should catch the eye for whatever reason.

I think this photo works more as an industrial documentary than as a character portrait. Whether the picture was posed or not is completely irrelevant to me. If a worker stops working a for a second to turn around and look at a temporary distraction (the camera & photographer), that doesn't diminish the photo in any way for me. Everyone takes a breather at work - that's part of work itself. I can't believe people here would write about health and safety in the workplace and photography getting in the way of it - so irrelevant to the discussion! We're here to critique the photos and this one's great...

You know if we all went out with a 50mm lens and rolls of Tri-x and just took pictures, then most of us could sooner understand that the simple approach is often the most poetic.

 

I think I've seen most of Ian's pictures before, and when I here a Photographers name, a key image of theirs always pops into my head.

 

Tony D, mentioned to me that Ian had won again with this shot, and I instantly thought of the picture and also of Eugene Smith's Pittsburgh Worker mentioned above.

 

Eugene Smiths composition is more controlled, wereas Ian has a successful environmental portrait.

 

But what I like about it is the simplicity of the 50mm lens and the lack of shadow detail.

Don't you feel like you're standing right next to the guy?

No quirky angles or distracting technique. You can almost here the noise.

 

The workers glasses, for me, bring a certain anonymity to the subject.

After all, how often do we really imagine the faces of the people who put the stuff together.

 

The debate on originality seems benign, cleverness and all the tricks that popular Phtography likes to fix upon has really very little to do with actually learning to see.

 

Documentary stuff is really about communicating, be it a story or an idea, and Ian's fits right into the American tradition.

"There's nothing new under the sun"

King Solomon (traditionally)- circa 1000 B.C. Ecclesiastes 1:9

I just realized my previous post is open to misunderstanding. That's not my comment on the photo, but just a little additional information referring to the quote in an earlier comment.

You know if we all went out with a 50mm lens and rolls of Tri-x and just took pictures...

You go shoot small format B/W while the rest us do what we want to do and not immitate somebody else.

The guy in the pic would likely not want to come within ten feet of the lot of you considering we'll next be hearing critiques about the clothes he's wearing.

This type of image is what we used to call a 'signature print' when I used to shoot press because it shows a person foremost and something honest about them - nothing less, and nothing more. Local staff had walls full of great work along these lines, and a lot of it never made it into print. It's too honest for fine-art, but not dramatic and sensational enough to make from page. That's really too bad because it's probably photography in one of it's finest modes.

Scott you seem to be a pictorialist and not a documentary photographer.

The 50mm Tri-x approach works, and is promoted by educators and leading Photographers.

What's this? You take a bunch of film, tri-x to be specific, and a 50 mm lens on 35 mm and shoot it...and what does it do? Sorry. I've never heard this before.

It's a very nice photo. The man looks busy. Tired, too. I'm glad I'm not him. I wonder if he's glad he's not me?

Very nice photo. It gives me insight into the thoughts of the man and conditions of his workplace.

 

One thing that really is interesting is how many people are discussing the guy removing his glasses. In all industrial work environments I've been exposed to, these are not to come off. Besides, if they're a part of his normally work equipment, why change the scene by asking the guy to remove them?! Would be like someone taking a photo of a photographer and asking them to set their camera out of view.

The true beauty of a non-digital ,traditional B+W image really is amazing when it's represented like it is with this classic image of a factory worker!!!!!

This is a esemple of beutiful and perfect photo especialy for thr use of B&W!

The Elves are requested to attach a commentary to their POW nominations, in which they ask specific questions in order to prompt discussion. Whether or not these questions are appropriate or interesting, depends largely on the listener/interpreter's opinion. Since there has been so many objections to the (now edited) commentary this week, you are instead invited to pose your own questions about this picture, to the forum.

Who says you can't teach an old Elf new tricks?

I have a good question: Where is Ian MacEachern?!?

Even better, I can also answer it: He is on vacation in a small town on the Lake Huron coast (Southampton, ON)! He is hoping to be able to access internet facilities in the next couple of days in order to read more of the thread and respond to some of the comments. In the meantime, he has given permission for me to post a couple of details:

"Unposed and taken in a foundry for the company (Ex-Cello Corp.) A place where I did a lot of photogtraphy for them over a span of several years. I had free rein in the place, with just someone to introduce me and to tell the people that I would be wandering around. A lot of this style was used for brochures for the company."

Ian MacEachern

Top Marks

 

I love these types of real-life portraits, and I love industrial/architectural works.

 

This guy tells me about how tough his life is and where he works.

 

The tones and lights are spot on - one of the most deserving POW I've seen for some time (not taking anything from the rest....)

 

More please - soon.

 

Ric.

I wish i could create something like you have done.

I shall comment on both the photo and the comments of others.

On the photo. Excelent shot. Ian has an amazing eye for what makes good photos. I can see this photo being in time or newsweek in a story on the american steel industry.

Now as to the comments of others. This is the world of art. I once was foolish enough to belive that those who surounded them self in the art world would be surounded in open minded liberal thinkers who could look at something and enjoy it on many levels. I have found that while there are a number of such folks there are an equal number of jelious types who if they see anyone other than them self getting praise for there work they must put down said work in some way. This part sickens me.

I remember to this day why i began taking an interest in photography. Its that magical moment when you look at your photos for the first time and you say "WOW I created that" That is a feeling that no one should allow another to take from them in the battle of critisizm. Sure criticaly looking at each others photos can help us become better photographers and that is why I post my photos here. That being said some of the comments I see here are nothing more than the green eyed monster of jeliousy raising its ugly head. In closing I offer this. Dont compare you self with others. Instead seek what inside you answers your quest as an artist and do that. I wish you well ..

I just had a phone call from Ian, who as Geraldine Allen has already reported, is vacationing in Southampton, Ontario, on the east coast of Lake Huron in Canada. I know I shouldnt make light of this but Ian too has been in left in the dark even though he is within a stones throw of the Bruce nuclear power plant. Unfortunately he cant get on line as the library from which he intended to access the Internet has been closed since the power blackout to conserve electricity.

I know that he wishes he could have interacted in the POW discussion

Ian never called this art. Nor did anyone else. Ian says that this is industrial photojournalism.

Someone else commented that this photo fits right into the American tradition. Ian is Canadian and lives in London, Ontario.

This photo and much of Ians industrial work has been exhibited a number of times.Ian will be commenting here in the middle of next week. Those interested should check back at that time.

I will only add the following; if you like the on-line image you should see a real print of this.

I took the time to look through Mr. MacEachern's folders, which was a great pleasure. He is an excellent photographer. Having worked in my youth on construction projects like the Generating Stations at Bath and Nanticoke and on the Syncrude Project in Northern Alberta I recognize this kind of environment and the man in the photo. I am reminded of many men I worked with when I look at this photo. It isnt often that I find photos on photo.net or anywhere in our image avalanched lives with so much resonance. I wish I could take as effective an image.

Ian, it is quite a ways from your "Children in Wales" and "Girl Skipping" (Single Photos folder) to this one, but it is a very pleasant journey.

The facial expression of the gentleman is priceless, made more so by the abstract quality of the glasses. Choosing to shoot in black and white was a wise choice... wonderful picture.

Powerful old school Photography is still alive and kicking. Your work is inspiration at it's purest in being able to capture life honestly. I have gone all digital just recently with my equipment and hope my photo's can be as powerful as yours. The art of photography is deinitely alive in your works.