'Points, Counter Point(s)' (II)

'Point(s), Counterpoint(s) (II) is posted here in the 'Street' category since

it occurs on one, (a boulevard actually, or technically maybe

a 'prospect') but it could as easily be called 'fine art' or perhaps

accurately also, 'abstract?' Your ratings, critiques, and remarks

(however it might be classified) are invited and most welcome. If you

rate harshly or very critically, or just wish to make a statement or

remark, please submit a helpful and constructive comment; please

share your photographic knowledge to help improve my photography.

Thanks! Enjoy! John

Dancing a valse against the mandatory direction. Well seen and captured, original composition. Regards.

It's Sunday, it's very warm (relatively speaking compared to a very cold winter just past), the whole of Ukraine is on this prospekt (boulevard) and on its nearby parklike sidewalks which indeed are wider than the boulevard itself (it's blocked off to traffic on weekends).

People see a lone photographer, his lens pointed to the pavement and wonder if his elevator goes to the top floor.

Here is proof that indeed it does.

The signs were freshly painted a day or so before (or the previous night) or they'd have been washed away by the huge winter storms and the snow removal (such as there was any snow removal, except on major boulevards).

However, Kyiv drivers are GREAT snow drivers, and snow at very cold temperatures is not hard to drive in; it's snow at CA temperatures -- about freezing -- that is the slickest and most dangerous.  Cold snow has an almost crunchy texture because the weight of an auto, et cetera does not cause the crystalline structureto melt, unlike snow at just about freezing which does melt under major pressure, then becomes slick.

I digress.

When I see three or four lines, I think pattern.

When I see pattern, I think 'continuation of pattern' or conversely 'go against the grain', and at any one moment am ready to capture whatever comes my way.

I just stood there in a likely spot and waited ten or so minutes, filming passersby's feet in this purposeful way.

I like that in Eastern Europe (former Soviet countries) there is a tendency for individuals, girls especially, to walk in lockstep. 

It helps to get a capture like this. 

Interestingly, they tend to hold hands, too. 

Maybe it helps in winter when sidewalks are so very slick one can be upended with the slightest misstep, and a hand held by another can keep one from breaking a leg, or is it just girl stuff?

Thanks for the kind comment.

john

John (Crosley)

I have an advantage in photography.

I have nothing to prove.

From the first day (I reviewed  last night some old remarks and comments I posted) I made it clear to members (who often mate-rated) I was not participating by letting it be  known that rates did not mean so much to me, and so the mate-raters never really approached me.  I was certainly not a person to keep their dark secrets about how they tried to boost their own photos into the top photos list under non-anonymous ratings, and knock others out of contention.

My first post also made the grade with PN's harshest rater -- Bailey Seals -- (now departed) who was dislike by nearly everyone for his harsh rates, but my first post was my most wonderful photo every (Balloon Man), in poor scan condition), yet his able eye discerned it was world class caliber and at 6/6 it made his lifetime best list (of others' captures) which earned my respect . . . which I announced and earned respect of some others who were afraid to say they respected this man because so many others hated Mr. Seals, but they were quick to acknowledge respect to me (and my disregard for ratings).

I post what I will.

In fact, if you want ratings failures, in street, go to Alt.street folder of mine, but it's really edgy and has some GREAT and highly different shots in it, many not classic at all, and one with over 210,000 views (my highest ever, hidden away).  It's definitely not your average classic 'street' portfolio.

I relish hiding away some good ones from time to time, while working on my golden Black and White, Then to Now, flagship folder, as well as my portraits,. etc.

I think this more abstract photo also would be postable in 'fine art', but who cares so much about labels?

I just see 'em, take 'em,, curate a few, and post even fewer.

This is one that snuck by.

I'm actually maybe a better editor than photographer, (but a damn poor photoshopper.)

I leave pro photoshopping to a staff member (at Ukraine prices, and  thus affordable).

I may use more than one to start a business repairing and restoring photographs, as the skill of those I work with is amazingly high . . . but my photoshoppers like to work on my my photos because they're VERY interesting . . . . far more than usual Photoshop fare . . . .and I share what I do and want from them, which most artists do not (whoa . . . . I said artist?  Really?  Or should it be snapshooter?)

Thanks Ricardo.  Your remark has strong meaning to me.

john

John (Crosley)

.. and well caught.

Not only the 'confrontation' of the walking direction versus the arrows, but it's mostly the arrow down that makes the photo for me. Is it pointing at me, as a viewer, and what is it trying to point me at?

So, it immediately raises questions and that makes it a photo to view and re-view.

I would not call it abstract, by the way, but or me that's just a label anyway.

You are an ununusually articulate member of Photo.net; welcome to critiquiing my photos.

I am equally articulate, in a sense, but I am naive when I take them.

I am aware of all you have said, but on some sort of inchoate way, and it all comes together in the viewfinder, as a sort of 'whole', although indeed well studied and crafted.

I have been reviewing some of the Cartier-Bresson videos including his Charlie Rose interviews as well as others, and what makes him so stunning in his work is that he seems not to want to take credit for crafting anything, that he just seems to claim that it's a sort of 'magic' (my term, not his) when everythiing just comes together that calls for him to push the shutter release.

Balderrdash!

He gave careful study to everything but if it couldn't articulate it all, his gut and well-seasoned and incredible intellect was doing all that in the background, kind of like a huge computer sorts everything in the background while doing myriad other tasks, or 'our car' takes us to our next appointment or place 'to be' while we are even unaware of how we got there.

He just internalized it all.

In some way, I have too, but in writing about it intensively here, (and extensively too), I have been able to articulate much and much of that is 'after the fact, though if I have time, I can talk myself through 'constructing' a capture like this and even TEACH others how to do it . . . as I recently proved when I had a student. (A MFA, with maturity who wanted to learn street -- I am guessing at his highest degree but I do know he had a Fine Arts degree).

He was hung up on getting out in the street, and I think I showed him it could be done, and with success (his work seemed to improve markedly afterward and he wrote me thanks.)

I both am naive and 'intellectual' in the sense I can think it through consciously now (after the Photo.net experience, but not so much before).

Like Cartier-Bresson, I would approach a subject, and just recognize and take it, though I think he did much more analysis than he gives himself credit for, as he sought in videos to self-mythologize when in fact, some of his greatest works were carefully thought out.

Instance: Gare St. Lazare (he complained he could not see through the viewfinder, but in one intervifew, he had been there the day previously and seen the man do the same jump)  He had meticulously framed his camera between fence boards (blocking his shutter, and lookig over his camera, waiting for the guy to do it again.  Just waiting, and the guy came and did it.  He could not see through hisviewfinder, obscured by fence boards -- he just looked over it to the preframed scene.

Nothing magic about that, as he would lead us to believe.

Just hard work, careful planning (and some coincidental good luck that the guy came back the second day -- my second source: the 'unauthorized' autobiography of  H C-B in which he describes the incident to his confident who was later to write about it, a far different account.

Did I plan this?

Sure.

Could I articulate it then as you have?

No.

Could I have enbodied all those thoughts within what I was doing as I naively framed this?

Certainly.

Crafting these things is intuition as Cartier-Bresson would in later years have his viewers believe but in the first instance, it's careful planning, as I engaged in here (this is one of many attempts).

Thanks for an engaging and articulate comment.

John (Crosley)

Gosh, John, just have a look at what I uploaded today:

http://photo.net/photodb/photo?topic_id=1481&msg_id=00WIlc&photo_id=10938083&photo_sel_index=0

The best bit in this photo is of course the arrow that points to the viewer...there is a strange play between the eyes of the viewer, the other arrows and the pairs of legs. It is so perfect that it almost looks staged.

Best wishes.

Thanks fort the link.

Great photo in its own regard.

Excellent point about this photo; yes it does looked staged, but if you saw the download you'd know that was not true.

I am always pleased when you stop by and comment.

john

John (Crosley)