Bayou on the Range

This "Cowboy" is actually a Louisiana resident, born in Montana,

photographed with family in Montana. I found him on a rural street

in Montana, near a gateway to a National Park, and photographed him

becaue he appeared "emblematic" of a certain genre of American. Do

you agree and have I succeded in my task? He thought so, and wanted

to buy this portrait. (Proper category: Street portraiture) Your

comments and critiques are most welcome. (Please support any harsh

or highly negative ratings with a supporting comment/Please share

your superior knowledge to help advance my photography). Thanks!

Enjoy! John

except for the slight smile, it reminds me of the look Clint Eastwood made famous in the spaghetti westerns! Very straightforward and self-assured...The DOF on the hat and flag are just right, too. I could wish the flag had extended behind the right side, as well - but that is just a minor quibble. It's wonderful that this gentleman was so pleased with his portrait -

I sometimes -- with still life -- have the occasion to analyze images for "what pleases me", then do formal composition. In this case, the entire "session" of shooting on a sidewalk took 3 minutes maximum, (with some chit-chat afterwards). I know what I like (echoes of Justice Potter Stewart), and here I found something pleasing, first with the color of the flag in the background to add something to a very interesting face which I photographed first alone with an uninteresting background. Of the few photographs, this (and other mates of it) show the elements of composition I was searching for: The diagonal lines of the "bars" of the flag are parallel to the line with his hat and extension through his chin. On the right, there is an acute right angle formed by the line of his cheek on the right side intersecting with that line. The result, is (IMO) a very dynamic composition, with the elements of the formation of a triangle buried within it. Also, the hatband and brim form interesting lines that draw the viewer through the photograph, I think. Musings . . . What do you think? John

someone told me recently that viewing an image upside down helps the uneducated eye (mine) see those compositional elements...however, I hesitate to stand on my head on my rolling computer chair! I know that I was immediately struck by the line of his cheekbone - which proves your point about the strength of the diagonals....3 minutes? Bravo, John!

I like this one. There's something in his smile that's a little bit misterious... and the crop is just fantastic... now, I'm gonna turn my monitor upside down and search for those compositional elements... he he.

You're SO clever!

While you're standing on your head, you might notice that originally this was advertised as a "full frame, compose in viewfinder" image, but a slight "edge of building" encroachment dispute with the landowner to the left had to be settled out of court with a slight (1/8") left crop, leaving this basically as in original. Thanks for the nice (and amusing) comment. John.

John, I like this one - very good portrait. I really enjoy the composition you've created here....the flag was a nice, yet vital addition. Excellent detail, clarity, lighting, and colour......only suggestion would be to get rid of the red/pink area top right, I find it a little distracting and unnecessary - would clone or burn it out.

 

Regards.

You have an excellent eye -- I think cloning out that particular pink area is an excellent idea. It probably is an entrance sign to the bookstore to which the flag is part of the entrance paraphernalia -- signs probably being controlled, businesses know they can display the flag with some sort of impunity and thereby gain attention they cannot with signs. This particular bookseller was set back from the street -- which may account for the flag's presence -- or maybe it's just a show of "patriotism". Anyway, before I print, I'll probably clone it out. You have a very sharp eye. Thanks for the compliment. John

Wrong category. It should be in the portrait category. Well done.

Another fine addition to your portfolio, John and another example of your versatility. At first I thought "in the moment B&W" was your strength, then I thought "yes, but so is environmental photography", then "no portraits"...now I realize your strength is whatever your doing at the moment. Now that's a nice trait. If only I...

Finally, someone has voiced an understanding of what it is I'm trying to show with my portfolio and folders. I don't post two of almost anything -- I'm constantly searching and trying new things. I started out as a "street photographer", discovered Henri Cartier-Bresson, was greatly discouraged by his mastery of that genre and just about gave up photography for good. And I was greatly discouraged by the mastery of so many on Photo.Net of so much. Yet it gives me so much to strive for. I just like to photograph, and whatever it is I aim a camera at, I try to do well, and I learn from anything and everything I view on Photo.net, or published elsewhere, and all I've seen through the years, and not just still photography but in the cinema or even all I've not recorded but viewed personally. Doug, you understand me well. Thanks for the wonderful compliment(s) and the interest to make that observation. John

This is very nicely done!

My English is not so good that I understand the complete 'conversation' between you, Matt and Bruno, but however I like this shot. It is very Impressive. These reserved look from under the brim of the hat and the shy smile around his lips makes this 'cowboy' irresisteble to me. Well done! 6/7

As I recall, I took about 6 photos, but this particular image took about 10 to 12 seconds to compose. Just that and no more. It's all instinct after a certain point. John.

In viewing this photo weeks later from a viewpoint of composition, I'm interested to analyze it from a 'mass' standpoint.

 

The subject, the Louisiana-Montana cowboy, is to the right of the frame.

 

If one were to draw a diagonal from the lower left through the upper right and then distribute the mass of the image (shoulder and face -- not hat) I think the two would essentially balance out -- that is to say whatever portion of the head is above that line is balanced out by the amount of the black shoulder missing below the same line -- is this clear or too arcane?

 

What I'm suggesting is that if one draws that imaginary line, and if one were to take the area of the face above that line and place it above the shoulder area but below the same line, it essentialy would balance out. . . now is it clearer?

 

I'm suggesting there's a hidden symmetry in this image that is mathematically (or geometrically) based and can be explained by more than 'good image' or 'I like this one', which was my initial impression.

 

John

Great shot! 7/7 I have this thing for great photos of Americans....(always love a photo with a flag) Great crop and composition.

I don't agree with you, John. I don't think that the masses approach works here as you described it.

 

I see a whole mass, the head. Off center, slightly inclined. This gives some unbalance and tension. Like he's going to say something.

 

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When I saw Kill Bill vol. 2, I loved how Bill's brother was acting. Opening his lips a second before starting to talk. That was creating such a tension around his words. With different means you created the same tension and wait also here.

 

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Plus: with portraits, some faces are just more interesting than some others... and the ability to connect with the subject is not something that everyone has.

Looks like this is your day for great looking male portrait subjects in my folder!

 

This man had an impressive face and with that new hat atop his head was a 'natural' for a street portrait and I just stopped him there on the streets of West Yellowstone, since he was outside a bookstore (and if I read him correctly, he s was not much of a reader, and a relative was inside).

 

He has kind of that hard look that one see in the mountain and inter-mountain, Great Basin states of the Western United States, but which may extend well into the Ozarks, for all I know, for my experience is limited in that regard.

 

It was serendipitous that as I moved around this man, circling him to photograph him, that I spied the American flag at the recessed entrance to the bookstore -- signs being limited in size, nobody in West Yellowstone has the gall to suggest that flag sizes should be limited and so the flag was enormous (an old merchant's trick to get around sign size limitations is to display an enormous flag).

 

Once I spied the flag,I had my visualization and the photo was finished in my mind, and the only thing to do was to complete it artistically and with workmanship. I think I was able to do that.

 

Lesson: Always be aware of your background -- a lessoon I am constantly trying to be aware of.

 

Thanks for your comment (and your highest of all possible ratings.)

 

John

I am not wedded to my explication or theory of 'masses as set forth above, but suggest that it is one way to look at this photo -- and still think it can play a role in helping to explain this photo's success.

 

And I am indebted to you for your continued analysis of this photo, for your analysis brings to mind part of the reason behind the success of crooner Frank Sinatra.

 

Frank Sinatra was well known to wait for the orchestra to hit the beat, and then come in a half note behind the beat; a tension had been created by his failure to come in on the beat, and he resolved the tension by eventually coming in, smoothly and a trifle rushed, but with superb aplomb. He had that skill honed, and it was his trademark.

 

What you are suggesting is that a similar analysis applies to this photograph, and I like the analysis -- it adds to an understanding of its success. I also see the tension you describe and understand that somehow the tension is present in this photograph.

 

Just because there is some proportion of 'masses' does not obviate the possibility of tension creation, as here, by having the subject 'leaning' to the right of the frame (as we view him). Although it's counterbalanced by the flag stripes, they're in the rear, and considerably less emphasized.

 

Interesting analysis, and I'm indebted to you for taking the time to think this one through and sharing it with me (and the PN audience).

 

John

I didn't address the part of your comment about 'connecting' with the portrait subject -- the best way is just to flatter the person and say they'll make a terrific picture, and then guide them to do just that -- for that's exactly what I want, and they can see the truth in what I say -- after all, why would I struggle under such equipment weight if I wanted to make them look ugly, and my equipment 'looks' professional, so they have little reason to doubt me. I'm kind, (since I want something), and therefore it's a form of manipulation, but it's also genuine manipulation (remmber the root of the word 'manipulate' comes from 'manos' which means 'hand' as to use one's hands, say to 'mold', and what I do is mold the subject's response to my needs for a good photograph --- something that people instinctively can see (I don't have piercings, wear tattoos, carry chains, or have unusual adornments suggesting the portraits will be somehow 'kinky' or otherwise unacceptable or out of the ordinary.

 

;~))

 

John

well done! excellent with the flag in the back!

Biliana