House of Wax

Perhaps you are right, John. That would provide context. As it is, there is no context, and so the image has to stand alone. Something does seem to be missing for me.

I need to emphasize once again that technically it is superb work, the kind of work that Ben always produces. My vague sense of dissatisfaction with the image does not extend to any criticism of the technique, nor of the composition, for that matter--if by composition one is thinking strictly of color and form as they balance each other in the frame, not any kind of coherence of meaning. I guess that what I am saying is that this shot, unlike most of Ben's shots, seems to be--for me--more an empty display of virtuosity than a meaningful and coherent work of art. Lacking that coherence, it does not hold my eye. I see two works here, not one. They are not congruent with each other for me.

--Lannie

Lannie, I'm in the same boat with you. I greatly admire Ben's skill as a photographer (and I'm saying that partly from the perspective of knowing that it would be a complete failure if I tried to set up a similar studio shot), and I can appreciate many technical aspects of this photograph. The subject, however, just isn't my cup of tea. I don't know why -- maybe it's because I roamed eastern Montana foothills when I was a kid, or because I discovered and became enchanted with forests when in junior high, or because I became a biologist with a deep interest in ecosystems -- but my interests are simply elsewhere.

However, I do have a different take on the cat. I think the hairless cat was a perfect choice. In part that's because it's such a nice counterpoint to the beautiful and stylishly dressed young lady. Substitute a long-haired and "cute" persian cat and I don't think you'd have the same inherent interest in the photograph (at least it wouldn't have that same initial grab).

But a more important reason, in my mind, is because that's what rich aristocracy did "back in the day" -- collect exotic animals from distant lands. I think that really helps to create the effect Ben was after, and that's a mimicking of the old oil portraits of (presumably) Victorian times. It's the fair-skinned, richly dressed young woman in well-heeled circumstances with a very, very odd animal that says "Victorian aristocracy oil painting" to me. In this regard, I think Ben was very successful in realizing his objective when setting up and photographing the scene. That's something I can roundly applaud, even if my own interests in photography lay elsewhere.

And of course, Lannie made another post while I was responding to a previous one.

very nice shoot

Evrything is good (especially the cat) but her hands. Waxworks masters would not mold the hands this way - her left hand and the bent wrist do not look too much appealing. But the picture is good overall.

It is like looking at a painting and not a photograph.  Great lighting and subject matter.  Beautiful!

"Seven deadly sins
Seven ways to win..."
Glamorous !

The white balance and cold colour cast contribute to the 'waxy' feel of this photo.
Regards, John

Fine and very well done image,and while the cat gives context to the title ,the lady give great deal of beauty to that wax house,I just preferred to see the beautiful model with less cheerful emotion to complete that context.