karel_peijnenborg

The picture is amusing, until you realize that the kid isn't really looking at naughty bits, but trying to look at the face of one the girls, most likely the middle one, which would be lot more intesting for a kid this age than the highly adult "upskirt" topos. (And like most skirts, these don't give anything away, certainly not from that distance.) Then a lot of the commentary becomes amusing. :)

 

Regards,

 

Karel

They give you something to look at when you have seen the picture, so to say. The shadow of the woman is very slanted, and with the shadow of something to the left out of the picture, and the shadow of the sign, almost falling completely out of the righeefthand side of the picture, those shadows add a (for me) pleasing slant, and a movement, to the picture as a whole.

"Besides, if I am not mistaken, this photo was warmed AFTER the fact, was it not?"

 

The shot was taken with a Tiffen Warm Polarizer, according to the picture details

 

Regards

I like Dale's commentary. Personally, I can't see this as a comment on pollution or things like that. Just the color of the ice is not much to go by, and it isn't that dirty anyway. I am quite struck however with central mass of ice gobs, and how they contrast with the cloudy sky, the crumbly flat ice surface to the left and right, and the dark, feathery masses of the trees in the background. But what I like best perhaps is how the rocks now have captured the flowing movement of the water, while the water now lies flat and still.

 

Did Vilnis have to walk out on the ice and clamber onto the pier, to be able to shoot back towards the bank? At least, something like that seems to have happened. Even if there was nothing to see looking outward from the bank, that is quite an interesting and inspired manoeuvre.

 

I don't think the picture needed that little bit of warming filter, but it doesn't really hurt either, and perhaps Vilnis did need it, in that awful cold! Attempts to cool the picture tend to make it too blue.

 

Thank you!

I see a strip of matches, from a matchbook. Part of the strip is burning, one match ignites. The movement in the picture is complicated, and creates tension.

 

The part of the strip that is burning, up to and including the igniting match, gives the vector of the first movement: left to right. This movement is interrupted by the flame from the igniting match, which curves back and upward, caught in the updraft of the existing flame, and following the centralizing tendency of the flame.

 

And we have our anticipation of knowing what will happen with a match head close to a flame, reinforced by what obviously *has* happened to match heads close to a flame; a continuation of the left to right vector.

 

Wonderful!

 

People have suggested to crop the picture and leave just one unburned match, but I like the big black blob, and the other, progressively darker unburned matches. But that half match doesn't add much, in my opinion.

 

I like this picture very much; perhaps missing the cliché just shows me for the beginner I am.