tamsyn_taylor

I'm not happy about the name, even though I realise that it is one of a series. The woman in this narrative is not wandering; she is purpose driven.  The child looks as if she is weary and wants to go no further. The woman says that they must.

To me, this picture is the story of refugees the world over. They are going someplace to escape something. In this case, their apparently isolated flight might mean that they are fleeing an abusive family situation. One thing that indicates the posed nature of the shot is the shiny shoes. 

But then again, given the shiny shoes, perhaps the simple explanation is that they are making a visit to an elderly relation whom the little girl absolutely despises. What she is actually saying is "I don't want to go! I hate Great-Aunt Ermentrude! She always says I look sullen! I don't care if I never see her again as long as I live!"

I like this photo a lot! The wet ground and the puddle with reflected lower branches give a very intimate view. But the diagonal zooming off to a distant car. and the sun behind the clouds, deep in the puddle gives two aspects of space, one on the curving surface of the earth, and the other far beyond it. The sqare format is good.

This is the best frisbee pic. Once again, the thing that makes this good is the negative shapes. Its the way that shapes that are not objects are working for you. The fact that the building goes out of this pic, dividing the background into two areas, the larger one of which is made more interesting by the irregula roofline on its lower margin. The four little trees and four little people is doing this 2x4 thing which works well. The three larger trees are difining and framing the whole composition. To be really nit-picky, I do think you could have transplanted the tree on the left for one of the same species, but then, I suppose the gardener would be after you. Lastly, the arrangement of the two people with the frisbee is perfect. The figure with arms spreadrelates perfectly to the trees- the raised hand visually closes the space made by the drooping branch. On the other side the curve of the shoulder is matched by the curve of the treewhich perfectly frames the secong figure. the positions of the two inner hands is crucial in creating an interaction and forming another wonderful negative shape. As for the frisbee, you have this trapezium between the two heads, the frisbee and lower hand. Leonardo would have liked that.

In both of the treeish pictures, one of the things that I am really enjoying is the contrast of 2x3. Particularly in this photo one gets a sense of there being two orders, two rows of trees, each of particular form and pattern and arranged in their own rows, They come together with the nearer spreading trees creating a framefo the distant objects. the positioning of the largest tree in relation to the sun and person is perfect. The negative shapes around the trees and framed by the trees work really well. This is just stunning.

Yes, I like the supervisor who is standing at the end of the gallery. Reflection on the floor is great, cut across by the light through the windows

This pic would be improved compositionally if a little of the head was showing near the upraised knee. Other than that, it is quite beautiful.

I love the contrasting texture of the pebbles and the skin. You obviously have a very tolerant model.

I like this a lot.

I love the way the figure has molded to the shape enclosing it. Wonderfully sculptural. Beautiful lighting!

I begin to find the emphasis on the shaven pubic mound, the clitoris and the labia rather distasteful and can't help wondering if the artist also takes good shots of wrinkly scrotums, hairy armpits and deep dark belly-buttons. Ears are a fascinating subject and were once considered highly erotic. I recommend them!

In response to the posted question, the car is a Ford Model De Luxe Fordor Touring Sedan 1936. The greyhound mascot on the front was made by Ford but probably added later.

 

Great photo! The timeless temple and the eternal sky contyrasted with the decaying icon of Western Civilization.

 

The temple has a cubic form, with an arched form pointing skyward. The truck echoes the form of the temple. Its cabin is, likewise, a cubic shape, and its front end projects forward in a narrowing arched shape that, were it turned on end, would resemble the dome of the temple. The horizontal chrome trim and the horizontal stone courses set each other of well. Almost any sky would be good, but this strataed sky looming over the other pictorial elements is excellent.

I like this photo a lot. Unlike other viewers here, I like the powerline. It tells us that this is Asia in the modern world, with its ancient spiritual tradition represented by the three novitiates, its simple customs represented by the mode of transport, its glorious scenery and landscape art in the mountains and clouds and water, and the stark intrusion of modern Western technology contrasting with all this beauty and harmony. Visually, the vertical of the stanchion counterpoints the horizontal shoreline, emphasises the diagonals of the punting poles and adds a couple of reflecting lines that connect from top to bottom. The curve of the powerlines echoes the shape of the boat and the descending heights of the mountains. I love the waving horizontals of the water, which must have been like glass, before another boat went through shortly before this photo. I also like the alternation of the boys' arms, and the stirring of their robes byt the breeze.

Well done to get so much detail into the stained glass as well as the reredos.

When one lives in a country where there is great racial diversity, one accepts it as the norm. The regularity of these guards is positively alarming! They are like clones, each with identical colouring of skin and hair. Their ears indicate that they have been turned out of rather well-used rubber moulds and glued on, all at the same angle. I'd like to see their faces.

Scintillating!

I think that the distortion of the floor adds to the character of this photo. The walls are asymmetrical, and defy linear perspective, while the floor is completely regular and repetitious. the distortion of the floor gives it a surreal quality that enhances rather than detracts from the ambience of the pic.

I don't know whether this works as a fashion shot. I think that it works as an artwork. I enjoy the subtlety of its muted colours and lack of tonal contrast. It depends for effect on the wonderfully linear texture of the vines which sweep around the figure in the squarish curves so beloved by Art Nouveau designers. Her hair grows out of the vines, her garments are the last clinging autumn leaves. William Morris would have loved her; so would Gustave Klimpt, Munch and Murcha.