'Winter'

To me this winter scene represents 'synchronicity', and as one famous

photorapher called it 'instant drawing', as he was a would-be artist.

Whatever it's called, I am interested in your impressions of this

particular photo. Your ratings, critiques and remarks are invited and

most welcome. If you rate harshly, very critically, or just wish to remark,

please submit a helpful and constructive comment; thank you in

advance for sharing your photographic knowledge to help my

photography. Enjoy! John

I love how you give me these wonderful images to study and look beyond the pixels... :)

First of all, the couple in the foreground's sled rails are a perfect shape to mirror the structure they are next to. Do you see the sideways J?

Second, the structure is pointing to the two people that seem to be looking in the exact direction the structure is pointing.

Third, all the standing people have their backs to the camera which gives this image a feeling of life going about it's business of living...

I like this image John!

deb

The sled's rails in a 'J' mirroring the large structure, I did not notice and probably never would have.

Second, two farther people being 'pointed to' by the walled structure (planter?), I also would not have noticed, at least the way you state, but might have considered them an 'extension' of that the planter's innermost line.

The third point is even more obscure for me; that of everyone being pointed away, thus giving the scene the character of the everyday . . . . very interesting, not too obvious and a well-thought-out point.

I can see that either you have extraordinary vision and insight and/or you put a lot of time into analyzing.

And you did so without verbosity.

I had a different analysis.

If you can find my presentation on 'threes', I invite you to look at it:  it's several years old, not updated, but this would certainly qualify to be included, and on a high order.

There are three walls.

Each is curved in the same way, and thus they are parallel walls, adding a touch of synchronicity to this photo or to put it another way, each 'mirrors' the other.

Combined, they serve as a pointer.

And, each is in abstract a giant 'C' curve, which next to the 'S' curve I find one of the most interesting yet simple structures or forms in photography composition, as, aimed correctly, they lead the viewers' eyes into the composition, as certainly I think they did for yours.

Notice the precise spacing of the sledge couple, foreground center/left, then the child, hand on or about to touch the right curved wall, and then the third couple, distant.  Each dark figure or group of figures also form a backward 'C' curve if one extended a line through them, which is the reverse of the 'C' curve of the structures. 

Interesting and complex.

Notice the careful spacing between darks and whites, both with the walls of the structures, which I count as 'dark', and the figures' which I also count as dark, amidst the mostly white foreground. 

Now, I would have liked it to be fresh snow, but I am not a cinematographer with a machine to throw popcorn, foam or whatever it is onto the scene to 'make the appearance' of snow and ice.  This is the real thing.

(There is a third couple in the far distance, for three pairs of twos, making this a case of 'double triples' -- rare in composition, though the third pair so distant it is hard to qualify them for that distinction, which I value).

(I think using 'threes' in photos is a valuable compositional device, which I discovered that I had been using intuitively, then when I did, I made a 'presentation' on it.  You can 'learn' I think, how to recognize and use 'threes' compositionally when they do appear, if you look at the Presentation.

Spacing is a very important part of this photo, one of the most important parts of the composition.  See the spacing between the planter walls and also between the (sets or groups of individuals).  This is a very 'formal' informal composition . . . which belies its seemingly randomness.  For all its being taken in less than a second, it is very studied - very processed before and during being taken.

I think that 'le maitre' (a famous Frenchman) might have taken a similar shot, and at one time I might have puzzled over why it might have appeared in one of his numerous books. (You may figure out who that guy is, now deceased, as I won't name him -- write me if there are questions, e-mail on bio page, rather than the messaging system.)

Someone once, long ago, posted under their PN name, some of that photo artist's images, and they got very low ratings. [the member got severely reprimanded and nearly booted off the service] - he violated copyright and Terms of Service'.

I note that at this time with four ratings, this has a combined 3.5 rate.  I feel that may be a badge of honor, especially in view of your critique, for approval from you is something that I have learned to value these days.

Thank you so very much for critiquing.

I am interested what my other, regular viewers may think.

I took photos the whole late afternoon (and well after dark) and picked this one out as 'surely the greatest of the bunch' and really like it.

Thanks for the affirmation. 

If you find a bad point or something that irritates you with one of my captures, you have my figurative 'ear', so please do not hesitate to be critical. 

Your insight and eyesight have earned you a special place among my critics. (Anybody can criticize, but fewer are 'heard' if their credentials are less clear or their points not so well made.)

john

John (Crosley)

There is indeed remarkable synchronisity in this image.  Apart from what has been mentioned, the  two people to the outer side on each side, ie the person pulling the sled and the youngster, both have their left legs raised and their arms at similar angles. That evokes more instant harmony to me at first glance.

Kind regards

Jim

I stood in one place, on an elevated entryway to a restaurant/theater and surveyed this New Year's/Christmas scene in the town center, trying to imagine possible scenarios, then the boy, upper right started moving along the wall, center, around the New Year's tree. (Yule Tree, also, with today, Jan. 7, 2011, being Eastern Christmas).  I also spotted the pair, distant.

Then along came the pair with the sled and I started firing, getting off two, maybe three shots, but this was the shot I aimed for.  And even with a zoom and a DX (crop) sensor, this worked out to 52 mm equivalent on a full-frame sensor (or film).

One can only hope for ALL the synchronicities one finds in this photo; they're rare, but they arise in so many cases when people start looking for them; when there are two or three, there often are more, as deb cloud showed me above, and now as you've shown me.

Thanks for helping make this a memorable photo analysis of a minor but interesting photo, one remarkable for its synchronicity.

john

John (Crosley)