PapaTango

The photo is an "everywhere" sort of image.  One that makes me sad and hopeful, as I have had to put up these kind of fliers as well.  He is a nice looking old fellow who must miss his home.

I hope that things worked out for all parties involved.

Just stunning in it's understatement and textures

Excellent Frank!

This is one of your nicer 'atmospheric' pieces--almost suspect as a "photoshop challenge" entry. You have made the balance between the hardness of object contrast with the mist a perfect blend!

I enjoy this photo on several levels. The first being I always capture a photo of anyone I see reading a book in public--as you know that person is wrapped in a world of their own imagining--driven by the author and content. We lose something very human being entertained by electronic toys. As to this photo, the handling and contrast range are excellent. I am unable to discern given the information we now have available whether this is a digital or analog image--but the crop in what would be close to a 6x6cm does the subject full justice. It has a nice geometry and well executed.

I looked at the color version of this, and there simply is no impact with that version. I find that the device of BW renders many rather ordinary photo a bit more. My particular challenge is not to overuse the effect. But with this image, the heightened contrasts combined with a darkened and more dramatic sky add an odd sense of tension and preternatural glow to the scene. The range and handling of the grey scale in this is wonderful and very clear--a very solid IR appearing display.

 

The only different post that I would have suggested is a 1 or 2 degree counterclockwise rotation to bring the elevation of the house dead vertical--and perhaps a bit of transform to restore a straighter angle to the tree. Or not on the latter, depending on how the first rotation played out! Overall, a nice shot and well handled.

Thanks Jack! HCB was the master of 'the decisive moment.' My goal is to find interesting people--and frame them just before they become aware of me. At that moment that they turn to the camera is when the image is caught. She was standing in her booth with this smile on her face--it is not for the camera. It struck me how she was so emulating the faces of the stuffies. Some people see this right away, some do not seem to get the theme even when it is pointed out. So what, they say. Well so what indeed--it's a great shot that links the personality of the worker with their environment. Unfortunately, the screen version does not do this image proper justice. It has a balance and luminescence that just jumps off the print.

Indeed. In the color version the door is semi-covered with a wash of very weathered, extremely thin and flaky red paint. Removing the chroma and adjusting the levels, curves, and exposure in PS CC rendered this (along with a few other adjustment tweaks). The original is mildly interesting--it has no impact whatsoever...

 

The lens is a 17-70mm F2.8-4 DC Macro (OS) HSM | C, slung on a Nikon D7100. Sigma lenses (I have 3) amaze me with their performance. This one has been 'tweaked' a bit with the USB programming hub.

Congratulations Glenn on this image 're-imagining'!  The effect is very much like what is achieved with careful application of solarization in PS--although the same sort of result may be achieved for more dramatic contrasts with HDR.

 

In any event, the final effect is dramatic, haunting, and surreal.  Adding the sky background to the narthex window and entry is just so sublime--it reminds me of a type of transparency Dali was noted for in his later works.  I also think that the shadow play of the stair rail builds interest and some additional tension in the final delivery.

 

Keep up the good work!

This was a challenge to catch! The wind was blowing at around 30-40

mph off Lake Ontario--and the Nikkor was zoomed to 170mm to frame the

image. Sand was blasting from the beach, and as soon as the terns

would get into frame, the wind would lift them suddenly up and out...

A little Photoshop magic and here we are! Comments please!

This one was a matter of serendipity. I was driving along the shores

of Keuka Lake in upstate NY--looking for architectural oddities. An

elevated platform was aside the road, and I stopped for a look-see.

The fire pond was an unexpected feature--and simply made the shot.

Absolutely stunning view and execution--a 'painterly' depiction on what must have been a very beautiful day.

Cemeteries are dangerous places for me--they can steal half of my day

as a totally random and unintended side trip. Many have a life of

their own, in the stories they tell and the memories left behind by

family of loved ones--now departed in their own right. This one comes

from Watkins Glen in NY State. She is the only one of her kind

there--but well executed. I shot this with a side mounted Sigma

DG-610 Super--and the clouds were very prominent. A Nik collection

filter gave the most dramatic take on it...

Over the past year, I have been photographing things that 'jumped out'

at me that are part of the collection at the Corning Museum of Glass.

This one is a reinterpretation--with a bit of PSCC majik--for your

consideration!

Sometimes I have to wonder. This is an interesting shot--made even more so by the fact that the people in the background have allowed their faces to be seen. From the angle of their gazes--they very well may have not been aware of this photo. In the past--here in New York State, Pennsylvania, Ohio, Kentucky, Tennessee, and Florida--EVERY time they have seen me with a camera they turned away. Nor was it my intention to photograph them full on. In that I respect their culture unless given specific permissions. All that said...

I don't know what is wrong with anyone elses monitor--but I can see the people in the background just fine. Maybe a tweak or two to the profile is in order for some. Although darkened--I find those in that sphere of the frame conjuring an image very evocative of Walker Evans work. The title is immaterial--it could be called Straw Hat Hamburger for all that matters--we should all view images and let them bring us to a context and emotive meaning. The boy indeed is striking against the darker background. Yeah, too bad about the table. Lynne should have stomped into the scene and removed it before restaging the shot. Stuff is there, we have to deal with it.

Is the young man wondering about something? Perhaps. Looks like he has a prepackaged bag of snack food clutched in his hand--obviously dreck made by the English. He is kind of hiding it. Maybe guilt. Maybe nothing at all except looking at what everyone else is doing. YMMV.

Voting and critiques here on PN are odd. Google for any of the LONG TIME discussions on the same here and it becomes clear why. This is a good photo--I would be happy if I had taken it and had it in my inventory. Is it POW quality? Who knows. Is Nikon better than Canon? Does the moon have alien bases on the dark side? Who cares. Good image, and keep on clicking!

I love it, and the photo goes to the heart of the great 'cliche debate.'  This image meets the 'documentation' standard, even if it is not a full oblique.  There is a sadness to abandoned houses--what were once homes--as times, families, and economics change.  Architecturals of the built environment are always full of the potential to strike emotion--and are most often so beautifully rendered in black and white.

 

William, you a a man of my own heart in these images--and this one is interesting on so many levels.  Great image, great presentation.

I have a soft spot for the art that is found in back alleys.  One of my favorite haunts to go for a photo stroll when in a city.  The nature of this stuff is elusive--it may last a very long time, be painted over, demolished, or vandalized.  But it is wonderful theme stuff!  Great catch, and well framed.

Having studied many images from the late 19th and early 20th century of formal gardens and park landscaping--this image is very effective in evoking the feel of those times.  Well done.

I look at this image and my feelings are transported to 1950s Argentina.  The fact that you have captured that--as well as the rapport of the two dancers makes this a most effective and powerful image.  Well done.

I am enjoying this image--its mood and tonal range all combine to put the viewer right into the frame.  The wispy vapors above the water have a mystery all of their own, rising to meet the darkling sky above.  Posts in the right corner add great balance to the dark vegetative foreground to the left and the reflection of the land rise comes perfectly mid frame.  A great shot, and well printed.

I really appreciate this image!  The divisions of the frame work so well--and combining the resolution of the barn with the soft fading of the field hammers home the power of the setting.  Adding of the sepia is almost requisite--bringing the strength of a wet chemistry print to the forefront.  Well done!

This should be the title of the work--as in the process of the thing

that is what happened. The photo is a small detail of a very large

art glass installation--an abstract work in it's own right. Then, I

saw further abstraction in the new form that was to be assumed.

One photo in the series 'A Glass Menagerie.' The original object has

been removed from its context and orientation--and been 're-imagined'

to fit a fleeting thought I had while viewing the thing.

Another photo that was long in coming. In early summer, I took note

of how the sun and stones worked with each other in creating shadow.

By early winter (that is snow on the ground) the sun had dropped low

in the horizon at the proper angle, and the time just before sunset

provided the longest shadows--creating the intersection of shadow and

stones.

 

There is symmetry in all directions--depending upon which area one

chooses to fix their gaze the geometry of the stones and shadows

appears in a new configuration. This shot was made on Ilford FP-4

(35mm) at f8 for approximately 1/15th of a second.

 

This film scan is not the best--the plan is to rescan at a later time

with better equipment. The actual print is on Canon Pro Luster--and

has a better contrast range than seen on this screen resolution image.

The line of the cornfield behind the stones in print is quite

clear--and with very little imagination appears to be shadowy figures

standing in formation...

This is a shot that took waiting out. A row of clerestory windows is

high in the right--and allows the sun to illuminate the stone chasm

that the figure exists in. Angles change and shadows lengthen

throughout the day. For the angular configuration in the work, four

hours finally lined up all o fthe angles and shadow detail perfectly.

A slight amber tone was added during post production to warm up the

image a bit, and add more depth to the stone and deep shadow areas.