His mother's wedding...

As a student with a side interest in photojournalism, I must say this is inspiring. This is the sort of thing that I'd like to do - a documentary photo that shows things as they are/were, but still employs the "rules" of aesthetics. As for the highlight - maybe this is just beginner's naivete, but is there not, in any b&w photo, supposed to be a range of tonality from true black to true white? I would think that most photos should have a noticable highlight and shadow...Anyhow, it is lovely. I esp. like the little things like the way the light catches the bride's veil. And I must say, I am impressed with that 1/15 handheld - how to you do that consistently? So, congrats on POW; I look forward to seeing more of your work.

I certainly go along with the elves that this as an excellent social documentary photo with many interesting elements! Great expression on what I assume is the groom and love the baby bottles on the table! Super candid moment and well captured. Don't agree that the lighting is great though -- I would have a problem with this photo if I had taken it only because of the face of the bride is muddy and unclear. The lighting has interfered with this shot but only in that one spot! The rest of it (lighting-wise)is good if not excellent. That said, when you are shooting in this manner... which is photojouranlistic ... sometimes there is no time to move and compose the image. Being a photojournalistic wedding photographer, I would have been very pleased with this image. In many ways it is a masterpiece! I know that I would have been slightly dissapointed though re: the lighting in the brides face. There is no solution or recommendation that anyone could make because the moment you move...the expression could be gone. Better to capture with a flaw than to miss the opportunity altogether. Congratulations on a super capture!

Good choice for POW. It's technically well done. Unlike some others, I have no problem with the window. The window just made the exposure trickier, which adds a plus to the technical side. I feel if one looks at it longer one appreciates it more. The facial expressions and the interaction at the table, to say nothing of the bride and baby, are very human. It's a wonderful moment frozen in time. Isn't that what it's all about?

I have to admit I've looked longer and harder at this one than any recent POW, and I keep asking myself, "why?"

I think it works because of the following elements:
- The rhythm of the pint glasses, interrupted by the baby bottles.
- The blown-out, yet softly gray window behind the bride (which is also adding a nice glow to her veil). I see a gray, cloudy, maybe even rainy typical English day. Yes, it's a festive mood, but I feel a sense of restraint, a kind of sleepy Saturday afternoon outside -- might as well be in here drinking, right lads? (which ties us back to the two gents at the table)
- Those converging lines between the table and the roofline -- what's happening at the other end of the table? We get a tiny glimpse through the frame of the left-hand gentleman's arm, but no more.
- Speaking of which, I don' think this photo would work at all if the room had been a typical rectangle. Those struts, and that curved roof -- what is this, a Quonset hut? -- soften everything, and give us a photo that really has no right angles, so now we're back to that soft edge from the window.
- And finally the setting itself: Exposed steel girders. Cheap paneling. A metal roof. While it's a festive setting, it's taking place in a fairly industrial environment, and I love the contrast.
- I was going to mention the possible timelessness of the shot, but that's already been covered. Ah, the instant classic beauty of Tri-x...

I really love this photo.

It deserves the POW honor. Nice work

I've been too many a wedding where this shot could have taken place. I would not enjoy this shot knowing the people involved.

There are so many photographs too choose from. I do not like the extra around the border. I do understand the 3-5 rating. I probably wouldn't have bothered to rate it. Technically the shot is ok. The focus is crisp. The lighting is fine. Just the subject - I don't find interesting.

To the comment by Tris:

This site is full of people, and yes some do not have a clue. People who have a wide variety of tastes. Depending on your background and life experiences, you will appreciate different photographs. Just because you don't like a particular shot doesn't mean you don't have a clue.

To the Powers that Be:

(I'm not sure how you got the designation - the Elves.) The last few shots sure have gotten a lot of responses. We may not agree with the shots chosen, but appreciate the oportunity to share. Good art should envoke discussion and argument, I think there is both here.

A welcome slice of reality, and a well chosen angle with the table and people going off in that diagonal. I do like the light flooding in, it not only adds to the atmosphere, but also brings form to those arches aswell as bathing the bride.

Strange comment coming from someone who uses "dumb" borders himself. I normally don't like borders, but it doesn't bother me here. That middle gray helps to emphasize the wonderfully wide tonality range Chris has captured. This is one of the first POWs that I fully support and appreciate. It was taken at a wedding but is obviously different from what the average wedding pro would take...nothing cheesy or sappy sweet here...this is real life and I love it.

I'm not going to rate this photo, because my ratings would be low and out of step with others. To me it seems uncomposed, random and cluttered. The brides "lack of a face" bothers me, as does the window light. But other's comments may help me appreciate photos like this, which someone labeled "social documentary". I think Ian MacEachern documentary style is much more engaging and aesthetically composed.

Thanks for an interesting choice for POW.

B.

Congrats on POW, fantastic shot. I want to peak out over the table and see what else is going on. The window doesn't distract me. Its seems to add to the realism. I have often sat in a softly lit room and been overcome by a single outside window.

 

Concerning the lighting on the bride: I find it only adds to the photo. It almost removes her from the other activity. The bride and the baby become their own photo.

 

Stripes and paisley? It just screams 80's.

 

And I think we can all relate to the akward family gathering moment, lol. Thats what makes this photo so effective.

 

Chris your work is great, would love to see more.

- but I've got some friends getting married soon, so I hope to take a few pictures just as good.

This picture is of very high quality indeed. The composition epitomises perfection... the line of the table symmetrically balancing the line of the roof junction, both of which combined lure the eye to the son on the extreme left. The men have a grace of deportment that you would expect amongst Latin-blooded peoples, but which is difficult to find in "happy" England, with her ["sweet", but] "artless daughters" (and sons). The lighting is intricate and delicate on the brides apparel, the wine in the glasses, and the sons face and hand.

 

There is much connection going on here! The three women with the baby, in particular the mother with her child, the women with each other, the son with the other man. And in sharp contrast, the *lack of* connection, but nevertheless interaction, of the ash trays with the baby bottles, and the man with the three fussing women.

 

I feel this shot is firmly rooted in its era, not timeless! (But that is good.) The middle-aged bride, the baby out of wedlock, the shirts and ties and womens hairstyles give it an indubitable period feel. 1956? Not to me.

 

I dont really think the beauty of this photograph is only subtle either. It genuinely is nice to look at as well as supremely interesting. You have my sincere congratulations, Mr. Battey!

 

And hey, this time I AM jealous of the Photo of the Week!!!

I can't agree that it is uncomposed. It is almost a classical triangualar composition, with the sight lines forming another triangle that complements and reinforces the main one.

I would strongly recommend ignoring anyone who denigrates this picture - it seems to me to be of a much higher standard than many of the show cased photos on this site (some of which are simply well executed cliches). It puts me especially in mind of Stan Barlow's (??) "A kind of loving"

Can't say much more praise than what's already been said. This is brilliant, and like others, I'm envious. This is a great example to illustrate the difference between a snapshot and a photograph. Congratulations!!

This is my first post, ever. But I felt compelled to do it, This pic is the most interesting and intriguing POW ever!!! I love this pic, and many of your other pics too! CONGRATULATIONS!

This is a fine photograph, the clutter is a big part of what makes it work. We get too used to television's portrayal of things, with its simplification of everything. This shows the complexity and myriad of emotion all at once, and it's very well done.

One comment on the comments:

I would strongly recommend ignoring anyone who denigrates this picture

I think this is a terrible idea. We can't learn anything if we just listen to what reflects our own view. Even if it's only to figure out why some people don't like it, it's worth listening.

Tony makes a good point about the Ealing connection, definately has the feel of a good kitchen drama. It's an excellent photo - lots to chew on with this one.

10/10 !!!

Good job!

Thank you for your "composition" hint!

I thought: I like the "composition" but I dont know why! Now it is obvious! I have to learn to "see" a lot, and I like it.

Great sample for beginners like me! Also the B&W and available light is grabbing me and I would like to go "out" with a B&W and NO Flash and NO tripod, and learn to hold also /30 or /15 ...

This style of photography requires patience, skill and perseverance - brandishing a camera, even at a wedding, often causes people to be on their guard. Chris has captured a fascuinating, fleeting scene, and this photograph is surely an image to savour from such an occasion. To criticise it for the burnt-out window or his choice of border is a little harsh, and perhaps missing the point. I value it much more for what it says about life and society. Constructive criticism is invaluable, but I think only aspiring to technically 'perfect' results is a dead end and a complete waste of time.

IMHO the best photos are the ones I wish I had seen (and taken) myself. This image qualifies - it both intrigues and inspires me. I can't really ask for much more.

As far as ignoring detractors is concerned I simply meant that anyone who says "I don't get it" or "it has no value"/ "it is not composed" is so far off the mark as to not be worth listening to. It might be that some photogs feel landscape's the only appropriate subject for photography. That's fine - but I wouldn't turn to them for advice on portrait photography. If somone were to offer constructive advice/criticism that would be quite different: "denigration" is another matter - this image clearly does not deserve it.

Funnily enough, and contrary to common sense, I would have thought that the way to nurture an artistic vision is almost certainly to ignore criticism and remain true to your work - listen to others and you'll certainly end up commercially viable but you run the risk of becoming rather bland...! (and yes, I know that rather makes a nonsense of putting your work up for criticism but there you go...

"...might be that some photogs feel landscapes the only appropriate subject for photography. That's fine - but I wouldn't turn to them for advice on portrait photography."

 

As far as I can remember Jeff (who does fantastic candids on the streets) has mentioned that he has improved a lot his photography by taking advice of a landscape photographer... (please, correct me if I'm wrong). Irony?! Well, what we all don't need is just a narrow mind.

 

BTW, marvelous photograph Chris.

this is not a candid pic in the true sense.yes, the setting is "natural", the subjects, seemingly oblivious to the camera, nothing has been rehearsed, ect. Yet,this looks to me like the work of someone with an extremely acute eye for composition (i agree that it is a "classical" triangular composition/rythm of line) sense of volumes and details... add to these qualities, a sensitive flair for storytelling
Well done Chris! like all of your portfolio.

Whoever think this is cluttered has obviously never heard of, much less seen anything by Hieronymus Bosch or Pieter Bruegel - minus the grotesque, of course

I am loath to talk about something other than the photo, but it should be more relevant than whether or not the colors are real.

If someone says, "I don't like candids so I don't like the photo above," we can easily discount their criticism, as it has nothing to do with the photo. On the other hand, if someone says, "I find this too cluttered," there is some useful information to be gleaned, particularly if we can get a feel for who they are. For example, I have found that use of online critique forums has helped me to pinpoint where I go for shows. I have a good idea on age range, sex, sexual orientation, income level, and a few other demographic factors. Why is this useful? It tells me where to show my portfolio. Often it comes from simple "I don't like it" statements.

Then there are technical issues with almost any photograph that can be analyzed. I'm not talking about trivial technical issues like choice of film. As an example, could the balance between the foreground and the slightly burned out area in the back of this photograph be altered? It could significantly change the way this photo works, and it might be a valid way of looking at it. It doesn't change the photographer's vision necessarily, it may slightly alter the style or just give a different view of the same scene.

By the way, Roberto is correct, my "mentor" for the last four years or so has been a landscape photographer who shoots primarily with a Noblex. His photographs are so different than mine that it would maybe seem absurd at first, but his objectivity is often more useful than that of people who work in similar genres