How I see the same chair

Thanks in advanced for your welcome comments. Cheers!

Jose, this is simplistic and beautiful! Well done! Regards, Doug.

A great experiment and it underscores some important philosophical/psychological considerations as well. The camera sees without judgement. It really doesn't care if the subject before it is a chair, the pope or a dead chicken in the road. It doesn't record anything but light. The photographer, on the other hand, brings all sorts of baggage to the party - attitudes, assosciations, prejudices, preconceptions and a history of lifelong programming. By itself, the camera is only a mechanical recording device and needs someone to point it, adjust the settings and pull the trigger. The problem is that the shooter doesn't see what the camera sees but rather a conditioned, abstracted reality that corresponds with his programmed view of the world. I don't believe that God judges this is good or this is bad; it's man who judges. Compassion and appreciation do not judge; they accept the opportunites that are placed in their path with thanks. There's a saying that I read somewhere that I think hints at the way: "though my heart burns with fire, my eyes are as cold as ice." God is blind and yet, paradoxically, to truly see, we must see with the eyes of God. . Regards, and thanks for the privilege of seeing your work. Jack

I've never felt intimidated by furniture before. From this viewpoint, the chair seems quite confrontational. I like Jack's summation, which pairs nicely with this photo. The camera registers. The photographer and the viewer interpret.

Me gusta, una idea sencilla pero de grande efecto. Saludos, Giovanni

... great shot ...

if not a soul/brain behind some pieces of glass? We choose our subjects because we think that they mean something for us and for others too, and this exercise is about this. Those chairs must be quite stressed lately :-) Ciao, gracias, Giuseppe

Thanks Doug, Jack, Jeff, Giovanni, Ahmet, Giuseppe.

Thinking while writing about our thoughts.

So, all of us, more or less, are agreed about what a camera sees is what is in front of it at the magical instant of shooting, but we have and use a terrific big social and psychological baggage of codes to choose subject and compose the shot. Sometimes, even, I get nervous when I see and aim the camera to a just discovered new shot.

Those premises take us to know that the human value of a shot depends mainly of the historical, social time and place it is observed. So, what about those codes that have been working nice from the past and which codes will work for future or the ones that have been working nice from the beginning and seem to keep working in the future, and more, what about if we search and discover new codes? this last one is, for sure, the most amazing and valuable line for work about.

Excuse my English, it is difficult for me to write about such thoughts.

Giuseppe, I already told friendly to the chair, don't worry, the experiment is finished, by now :-)

My best regards.