jon w.
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Image Comments posted by jon w.
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Maybe this one.
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Great.
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I agree.
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Lovely light in this, with her face enveloped in shade, dappled and diffused like the interior of a tent or something.
In the essay that introduces Bellocq's images of New Orleans prostitutes, someone says that Bellocq photographed them all as if they were beautiful, and as a result they become so in his prints. Maybe the same could be said of your shots, Ward.
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This is another where the caption adds a great deal, and makes us look again more carefully. The various chains are good.
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The thing I like best about this is actually the caption, because of the 'probably': a note of diffidence and hesitancy that is echoed by the image.
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This earns a place in the sequence because of the intriguing subject, and the great complementary text that explains it to us.
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I was thinking that the image seems to give all the viewers above 'space' to make up their own minds. It doesn't preach to us, and doesn't romanticize its subject. We are free to decide that we don't like him very much, if we so choose. And paradoxically, that requires a peculiarly demanding kind of generosity on your part, Ward.
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I don't know how I managed to miss this one, first time around, Ward. It's superb, and the figure in the background is a bonus that gives it an extra kick. This is a good example of a 'portrait' that manages to include contextual information about the life of its subject.
I have been going through your presentation, which I think works really well, though perhaps needs some minor editing.
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This is a good shot, and will be useful as a variation among some of the portraits.
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No, it isn't just that she's pretty. The facial expression and averted gaze are perfect.
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Aha! One of your 3200 shots - and you're right, Ilford's published data give times that are approx. one stop too low (i.e. develop for the rating one up from the one you actually shot at). Best results in Microphen, or T-Max seems to work fine too.
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This is fabulous when viewed at a larger size, and after reading the title. Really good work here Ward - it makes you think, now here is a photographer who is paying attention to his subjects. It's so rich emotionally (and makes an interesting contrast comparison with my image of the smoking woman, the one you commented on). Focus is also perfect, which is quite an achievement under the circumstances.
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This is a beautiful image, Ward: lovely skin tones, and the scattering of white hairs among the black works very well.
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I like to think that I might have started off this snowballing list of comments, Ward, despite the inadequate and cursory nature of my initial remark. The debate above suggests that your photograph succeeds in exactly the way you wanted and intended.
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What's great about this is the way the snow has picked out all the edges on the fire escapes behind, and then is simultaneously 'slahing' across them in a peculiar and distinctive 'interference' pattern. I know what Andy means: whenever I see a shot taken in a snowstorm, the Steiglitz image automatically comes to mind, but you're obviously coming from a quite different place.
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Who has the 'bullocks' to live? I wasn't aware I needed livestock like I need oxygen. Maybe that was Veronica's problem. This looks suspiciously like an 'assisted death'. Where did Veronica find a pro-euthanasia doctor willing to attend in the small hours of the morning?
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Oh, I do like this, largely because of the addition of the milkcrates, which provide a quirky splash of colour and sense of depth to what would otherwise be a straight record shot. And in Newtown too (home of the quirky)! -
Oh, this is lovely. Anthropologists at work - but hey! this is my tribe, and you've just been made honourary members. Fourth woman on the left is maybe an imperfection, but one you'll obviously have to live with (if, like me, you don't approve of PSing in situations like this).
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I like this too. I'm not saying you should drop all the other head shot portraits, some of which are strong, just that you need to mix them up with other kinds of image.
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For some reason, this one struck me. Maybe I shouldn't examine my motives too closely (could just be that she's pretty), but maybe it's the selective focus on the eye and nose stud, and the fact that the softer right eye is shaded by soft hair. It's a good expression too.
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This is pretty damn good: the posture, the pointing finger, the whistle, and the text ... The only thing bothering me is that dark line bottom right (part of a bench?)
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I like the viewpoint here. Ward, I hope I'm not beng insensitive if I say that you might like to try and thematize the fact that your viewpoint is quite a distinctive one: i.e. from a wheelchair, lower than most people's. I'm not quite sure how one might do this, but it's an idea.
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This is not especially striking in itself (although I do like the tongue), but it might make a good contrast to some of the other older, more grizzled subjects (youth and experience: obvious, I know). Again, I'm trying to think of strategy, not tactics.
Ruka
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