Eggleston Revisited

You are not very good at this, are you Thomas?

Actually I'm quite good at this, but maybe, if I dumbed the images down about 60 points or so, you might be able to understand what I'm doing.

Perhaps. How many points is it now, Einstein?

Higher then you want to know.

 

I've noticed a propensity over the months and years for folks such as yourself, to make negative comments about that which they haven't a clue. It's very telling about the personalities who ply these forums. It's also doubtful one could expect to find an intelligent critique on Photo.net; your critique included.

 

I guess you'd expect one should be able to stop by your portfolio and make similar comment about your images; but that would be just as childish and unintelligent as your comment was here, now wouldn't it?

 

Thank you for your comment.

Feel free to do whatever you like, Thomas, my ego is not that fragile. It's just innernet, innit?

 

You seem to put yourself into a category of "the one who knows better than the proles". Auspicious indeed but somewhat inflexible.

Fragile it is; hence the need to make comment such as you did.

 

The humor I see in your comment; I am a "prole" (proletarian), or worker if you will.

Thomas, though you apparently do not like Eggleston much, it may be worth your while to explore Eggleston's color sense a bit more deeply before dismissing him. The power in his photos, to me anyways, is in the physiological reaction we seem to have hot-wired into us by certain color combinations. The red ceiling photo is a powerful image precisely because it is red, corpuscular, hemoglobin-rich, provoking an atavistic reaction, even in civilized people.

 

I find he is an acquired taste, myself. I am going to see the Los Alamos show at SF's MOMA this weekend and experience the dye transfer prints.I am curious how the prints look outside the printed page.

 

Andrew

Part of the problem seems to be that people think I'm too stupid or undereducated to understand Eggleston. I see the problem in the light of my critics expecting less of themselves and not expecting more of their icons.