Published: Sunday 27th of April 2008 08:55:50 PM
John, I particularly like this pose! The abundance of triangles, implied triangles, and curves keep my eye moving, but (as usual) my eyes comes back to hers. My compliments to both of you. Jim Phelps
I know what you mean about the mindset of B&W being more associated with the artistic in nude photography. But we could have a lengthy and potentially interesting discussion about that. One radical perspective is that that mindset is an artificial construct propagated by a self-conscious group trying to give legitimacy to shooting pictures of naked people, mostly women. I could, for example, point out that generations of great arrtists who painted naked women always did so in color (of course nobody really painted in B&W until the 20th century; then again, there's always drawing and etching, and so forth).
Other could come back, of course, and say that artistic B&W is a unique characteristic of photography (though, of course, it preceded color).
Still, I'm interested in what makes people think B&W is more artistic for nudes in general, rather than simply being a vital option when one is focusing on certain types of light and shading. I'm not saying I don't love B&W. But why exactly do people think it's more artistic?
Just rambling. And not too coherently.
Suddenly last summer I agree with the others. Your photos stand out - it's rare that I'm wrong when I think I see a Peri in the stream. This model used to make me v uncomfortable, but, at the same time, I wondered if she would make an appearance again. This is from your holidays last summer in Greece? She's studying to become a doctor, yes? Your models usually strike as being v interesting people. There's an intelligence and confidence that comes across. Not that that is good or bad. To me it's just what makes much of your work "a Peri". (Sometimes I draw a blank and can't tell one way or another.) This model to me is as smart as she ever was, but she seems to be growing in confidence. Neither a good nor a bad thing, but, to me, it makes the photos of some of your models (the ones you revisit each year) more interesting. Your comment, John, on the highlights. The Fuji S5 should do a much better job than your D70 in hanging onto the highlights and still showing good shadow detail. The newer cameras, the Pentax K20D, the Canon 40D, and possibly the D300 do as good or better than the S5 (when set to the right mode) in capturing highlight detail (the door frame in this case) but force you to give up shadow detail. The Fuji still has a couple of stops more latitude. Maybe not as much as your FP4, but close.
Mark, that's not rambling at all. Undoubtedly, I have been influenced also alike so many others. I just like generally the neutrality of black and white. Now whether or not I have been programmed to think it's more acceptable, I don't know. At any rate, I started out with black and white as a kid and never really grew out of it. All the classicists we relate to from the old days also worked in black and white essentially, so that possibly also atrributes a certain authenticity to it in our perspective? That's an interesting point, thank you. McCracken : Doorframes on the other hand, no one mentions them on this page, I don't see why it is brought up again here? I have a small balcony with a doorframe. When on the balcony, it's just about the only background possible. It's neither easy or difficult, just practical, and I'm really not one to be concerned very much with getting the frame straight in the picture, though miraculously it seems to be so here. However, one major problem that it causes me is that the subject is sometimes partly in the sun, the frame too, and this will cause highlights to appear. Ilford FP4 used to handle it pretty well. Digital doesn't.
Being honest... Glad to see you didn't take my comment about the door frame too harshly. This is good... not sure about the reflections I am seeing top left but they aren't too distracting.
A Peri you can see a mile off on the thumbs page. What beautiful toning, pose and background. You've done it again John. My compliments, Bill
Abeautiful shot, John, with especially strong comp. But I have to say that I preferred the color version; I thought it had more depth and contrast.
I like this one the tone light and the frame of the door around the great looking model works great here. Best regards Tore
Cambon Jean Louis
hello ! very more beautyfull in B&W than colors, i'love this, for tons and contrast great work, again !!
I'm very flaterred if occasionally you really recongnize my work Bill, thank you very much. John
Hy Luke, thanks for dropping by and for adding such an incisive and informative comment. Regarding what may look uncomfortable or not, it's very personal. Ah .. the cameras are making progress, yes. Nevertheless, the light is very harsh in the mediterranean and it's hard to reduce contrast.
this has always been my favorite model of yours, john. not just because she is beautiful, but also in how she presents herself to the camera. well done.
Simply lovely John. The light on her face and the wisps of hair are quite attractive. This may be one of your recent best in my opinion. Well done. Compliments to her as well.
Classic and amazing shot John. I am bored with the nudes with acrobats.
Thank you Mark. I often hesitate between colour and bl & wt versions. I often find that bl & wt has a closer afinity to artistic work ...
There is something very wild in this photo ( maybe due to the hair ) . Good work as always
Very nice curves I like it a lot.
fantastic!!! you are the best
Beautiful, lovely model, John. Alberto
Howard Nowlan Wonderfully fresh, sensual and feminine.
In retrospect .. ..