dennisdixson

I've decided to pick on your portfolio tonight for no reason in particular, though you were at the top of my contacts list.

 

I like that new logo. It seems to subliminally evoke some part of the male reproductive system.

I hate to be a pest but this is obviously upside down and backwards. That chop is a perfect representation of a United States map.

 

"Why yes, I do believe I will have a refill."

I was thinking more of a human soul rendering facility.

http://farm4.static.flickr.com/3031/3065037768_f3f5ecb435_m.jpg

Wow, we are one step away from being poultry. Down with the natural world. Down with misplaced random piles of manure. What more could anyone ask for... Paradise.

 

The square format seems reasonable for compositional and metaphoric application. Well crafted but disturbing.

This happens to be one of my favorite Chicago signs and as you know there are many to choose from. There are also some good photos of this one over at http://www.flickr.com

 

I think the vignette adds a 50s box camera look. Maybe not so much of a postcard type image but retro looking for sure.

There is often a lot of hit or miss involved at times. I usually shoot in raw mode unless of course I am using my old junk store cameras. Sooting raw images pretty much means you have a blank canvas as far as color saturation and contrast levels. A lot of people just shoot .jpg images and let the camera software figure out what to do with the data coming off the sensor. They probably get more sleep at night than I do.

 

Thanks very much for taking the time to comment.

Oh yes, it's wonderful. Unfortunately I have to be a savant to get any meaning out of it. But wait - What am I if not a savant or expert in deciphering these contributions to the intellectual collective.

 

The fine pattern of the reinforced glass reminds me of the engraving marks on currency. It's plain to see that this is some sort of photographic investment vehicle that requires us risk our own mental resources in order to realize any return. I guess that is the case with most works of art. It's about the investment in knowing the thing.

 

There is an awful lot going on for something that deals with vacancy. It certainly does not exist in a vacuum. I find myself more and more interested in things temporary because they seem far more telling than the inevitable renovation or transformation into something more banal and less meaningful at the end of the day.

 

Two can play at the game of creativity, one of us is getting nowhere but it is fun to try matching wits with images. Have a great holiday.

I am reminded of the idea of office workers gathered around the water cooler to discuss current events. I almost wish there were a water cooler or some other metaphoric stand-in. I guess the little office stool comes as close as it can to performing that artistic duty.

 

This is another example of a photo within a photo. There are two main subjects and they seem completely unaware of each other. Interesting that the inanimate subjects can appear to ignore the human subject which is a reminder of how in life we ignore the cleaning crew and maintenance workers who are not part of our circle or work group. So there is a little story here that reminds me of imaginary friends and making my own toys. Very good stuff.

 

This is really a pleasing image in a low key way. We are so used to garish colors and weird angles these days that we often forget the power of seeing the world as it is.

Anyone who relies on photo.net ratings to judge the value of a photograph is not thinking straight (edited).

 

I agree that congratulations are probably not called for since the photographer had no say in the selection process and there is no

competition going on here except the clamor for attention.

 

I'm happy that all of those images are posted for me to see and hopefully learn something from. I have asked a few photographers in the

past what the point of a certain photograph was but I don't think I would go so far as to tell another photographer what they should cut

from their portfolio. It is best when the individual images are able to stand on their own but I'm still not throwing out my grainy picture of

Bigfoot that I took on my Summer vacation.

 

Some of Jack's photographs speak to me while others do not, but I don't really expect all of them to connect personally. In fact it may

be the photographs that do not speak to us that we can learn the most from. I am sure that you (everyone) and I have completely

different ideas of what makes a successful photograph and at least one of us (me) is open to new ideas. I certainly hope that you are

not squashing your students creativity by insisting that they churn out clones of what you believe to be good photography. The fact that

the photographer finds this interesting is a good enough reason for making the image even if no one else gets it.

 

I don't have any suggestions on how to change or improve this photograph and if I did they would only be improvements based on my

point of view and not the vision or intent of the photographer. This photograph may cause me to notice similar opportunities to make

images of my own where I can make all the changes I like.

It's usually best if the work is able to stand alone. I suppose there are exceptions when it comes to works created by celebrities.

 

All I can tell you is that this photograph has meaning to me and that is enough. I am satisfied with the method and outcome. I'm pretty sure that I will make a large framed print of this in the near future.

If you were to write a book on composition using Jack’s photographs as examples then this image would have to be near the beginning or

elementary concepts stage of the text. The subjects will get far more complex and interesting as you proceed to the following chapters. Go look

at the portfolio.

 

There is a strong artistic influence in Jack’s photography but I would categorize it as impressionistic rather than cubist. I think both are built

around the idea of Jack’s ability to often present two views or perspectives within a single frame.

 

The other phenomenon that I see at work in many of Jack’s images is that there is a sense of subtractive composition or a missing element that

we are left to provide for ourselves; which in effect is like holding up a mirror (“Mirror Image”) in front of our own thoughts and emotions. We often

see the images as profound, not because of what is there but because of what is missing and because of what we are consciously or

subconsciously supplying to the game. Jack is fond of saying that the analysis or interpretation of an image usually comes after the fact. It is

much more difficult to express or explain what triggers the impulse to create the image in the first place. If we knew that, then we too could make

it look this easy.

 

We each have our own reasons for creating photographic images and for many it is a purely personal activity. The interesting part comes when

we present them to an audience for some sort of feedback. The photographs are a constant, meaning that they could languish at the bottom of a

drawer or languish in plain view in a public forum and they would still be the same thing. In presenting them here should we consider our own

agenda or those of the viewer? I usually go with the first, often robbing my images of any sort of meaningful impact on the audience. Perhaps the

secret of success is finding the right audience to fit the artist or is it not to post at all?

 

I’m not going to try to convince anyone that an image is profound or ordinary but I will say that it is much safer to seek the profound in the

ordinary mostly because you have a better chance of not falling victim to false advertising or falsehoods in general. Perhaps the reason we are

so easily swayed is because we continually seek the profound, only to eventually discover the banal.

 

For me this photograph is not close to being profound and it may even be a little cliché. Mark is right in saying that images like this are not all that

hard to find in a man made world. Think of this as an exercise in image making and this image as the warm-up. Warm ups are not meant to be

hard or profound. They just get you ready for the real workout and soften the blow of the punch line (title) when we finally realize that we are

really only looking at our own sad and sagging image in the mirror.

Most people would never see this shot, fewer would attempt it, none would succeed half as well.

 

There is a certain sense of constriction brought to mind, as though you are being forced to squeeze into a space between columns or cars, perhaps looking at this with your head turned to the side or through the corner of just one eye. It reminds me of photographs I might have thought of taking while I was rushing off to other places or late to an appointment and the times when I had forgotten to take the camera altogether.

 

I'm trying to attach an optimistic emotion to this image. I wonder if this is what the alley entrance to Heaven might look like.

Stop crying in your beer you weenies! ;-)

 

To me it's all about the contrast or disconnect between generations. I have seen photos similar to this from the '50s where the family is sitting around a tar paper shack while the kids play with their Commander Cody astronaut pistols. Now we know exactly how pitifull the "future" turned out to be.

 

I like that STEP PLATE (in English) how exotic it must seem in that location. I would want to park my sandals there as well.

 

At first glance this reminded me a bit of some of the old FSA (Farm Security Administration) photos by Walker Evans.

Thanks very much for the critique. You touched on quite a few points that I completely overlooked in my thinking about this. Let me give you a little background that the image alone fails to provide.

 

First, this is a one-off photo taken with a box camera. One of twelve exposures of mostly unrelated subjects. Knowing that I only had one frame (or was only going to use one frame) I did actually spend a few minutes thinking about how I wanted to do this so I have to take the blame for whatever it may lack. A good measure of the composition involved getting an undisturbed field of snow to serve as the background. The other consideration was to show the shape and construction of the chair as an object (a record shot). My last major consideration towards composition was to capture the shadows on the snow which are from a 45 year old oak tree in the yard. So that's the composition part. There's not much control over exposure or contrast at the capture stage with a box camera, so that has to be done (if possible) in post processing.

 

Consideration of the occupant had never directly occurred to me. Since it is my chair (I built it) I have the luxury of remembering all of my family members and friends who have sat in it. When I took this photograph, time and weather had gotten the best of it and it was ready to be retired from service. We had also sold the house which was empty and cold at the time because an ice storm had knocked down all the power lines in the neighborhood. I had gone to the house to make sure that everything was secure and to spend a lonely few minutes thinking about the past twenty years I had lived there.

 

Like most of my images, this was made for the sole purpose of my own sentimental indulgence and as a sort of place holder for other things, people and memories that no one else would find particularly interesting or meaningful. As a stand-alone image I can see that it lacks drama for the viewer and is probably confusing as to why I would post it to begin with. I'm glad you took the time to share your thoughts on the subject. There are times when I need to consider the viewer and what it is that I am trying to communicate.

 

As a side note - If you were to find one of these old film cameras formerly belonging to someone living in the Midwest; and it happened to contain exposed and long forgotten film inside; nine times out of ten the film would include at least one image of the year's first big snowstorm.

Ah, the old shoot through the windshield trick. ;-) I can never quite make that work as well as this.

Slots or ? Oh my, what a rude town.

 

This is an interesting use (or abuse) of perspective. I also like that crane peeking in from the corner of the frame. It typifies the "build it and tear it down again" mentality of Vegas.

 

It may be time to clean your camera sensor. I'm seeing a couple of dust bunnies in the sky.

I always wondered about the origin of cones. Now I see that they occasionally shed their skin as they grow.

 

The peeling veneer on that door suddenly reminded me of a hula skirt.

 

Alternate title, "Hawaiian Vol-Cone-O."

 

And to think that the day is still new over here. ;-)

What's the name of the play?

 

"Coney Island Memoirs?"

Very cool shot. I have no problems twisting it to suit my own pathetic humor but I'll be a gentleman today by not paining everyone with that.

 

The reasons for choosing certain subjects are almost as interesting as the photographs themselves. If we just looked and did not take any photographs; the game would be much easier but there would be no way to keep score.

 

I can't find anything not to like about this. If only the rest of the world could be so kind.

That sounds like a valid assessment which appears to be shared by just about everyone who has actually looked at this image. Maybe a static still-frame is not the best medium for what I had in mind but that is the medium I was working with.

The image is full of compromise and you are quite astute at picking out the areas where I encountered the most difficulty in arriving at a solution. I'm not sure that a perfect solution exists but looking at it now after some time has past I can think of at least one or two things that I could do differently.

This raises an interesting question and one that I have been thinking about on and off for a while. What is our responsibility as artists / photographers? Should we be happy with producing a record of the moment or are we required to produce the best work that we are capable of? I have a day job and most of the time I simply take photographs to satisfy some inner urge to create something unique to myself. Most of the time I am not subject to the demands of a client or an art director. So as an individual, what is required of me in terms of output and quality? It's a tough question for me to answer.

I am always hoping for perfection, excellence or some other lofty goal. In other words my ultimate desire is to produce master works. This must come naturally to a very few people but not to me or most of the thousands of other people who pick up a camera on a given day.

I value your input. Most people would simply pass without giving the image any thought. Now I am forced to look again (without excuses) at what does and does not work in this image. The fact is that since I created this, I have different ideas about what it means and how it should be done.

We are constantly changing our thoughts and moods as we go along. The big decision is if we should try to go back and correct our past missteps and mistakes or forge ahead to other projects in order to screw up something entirely new?

Thanks very much for the critique.

http://farm1.static.flickr.com/74/185858342_719feed5ee_o.jpg

"Sisterhood of the Sedentary Pants"

 

Oh come on, it's my one reference to pop-culture a day. I believe I am allowed that by "The New Constitution." Whoops that was my second pop-culture reference. Now I'm over my stinking limit and it's all your fault. I just pray that I don't get fooled again... damn it! Now I can't stop.

I think I invested about twenty minutes in this or approximately the time it takes for a pizza to come out of the oven. I don't go here very much anymore even though it is right up the street. I think my new camera would do a better job with the shadow details. I may have to resort to using the 20mm 2.8 as well in order to get a faster shutter speed than my slow zoom lens.

 

This could only possibly work as a black&white photo due to all the garish colors in the mural. Maybe I should find an excuse to go back here sometime later this year when the afternoon shadows get long again.

 

That thing sticking out and partially blocking the subject is the corner of the counter where you place your order. I don't think I had a wide enough lens at the time to get the exterior window if I moved over a couple of feet and I thought it was important to show the source of the light. I like the fact that he is directly under the liberty graphic but I had to wait for him to lean forward to get his face into the shot.

 

I have a wider lens now so that is another reason to try again from a better angle if there is one.

 

Thanks for the critique.

Interesting shot. This strange creature reminds me of a conversation I was having just last night. Well actually, two other people were having a conversation and I kept interrupting them. The subject was cloning and the consumption of cloned or engineered products and foods.

 

I decided that the perfect implementation of this technology would be to create a genetically altered pig with two asses so that you could get twice as much bacon. From there the conversation degenerated into a discussion of how a pig with two asses might have sex or something like that which is silly (oh yeah, that's the silly part) because you would clone the pig, not mate it with other pigs. Besides, pigs with two asses would likely have two of everything else anyway. Problem solved.

 

Nice shot. By the way, is this the front or the back? ;-)

I think in my experimenting I erred in both directions but most often by letting the light linger too long in the center of the shot and blowing out the details there. I guess in this one I settled for the idea of a black hole in the center pulling everything towards it. To my eye the marble on the far right is turned in the wrong direction throwing my artificial universe into chaos. The fact is there is no order in this universe and the light shows it is spiraling out of control.

 

These were about 8 or 10 second exposures and lots of experimenting. If I was doing this again I would probably use some colored lights. But why would I do this again, I'm not sure why I did this to begin with. I did just have an idea to move the marbles instead of the lights...

You are right, there is no strong story here and if there was I may have missed it by a few seconds or minutes. I wish that I could have screwed up the nerve to ask those two to sit for a photo. I was mostly interested in preserving the moment and imagining the potential interactions that might occur on a given day. It's a memory aid for myself I guess.

 

I'm not sure what I was thinking on those ceiling spots. I would have to find the original file to be sure. I think they may have been distractingly bright or they might be some sort of exhaust fans that are moving.

 

If I remember correctly, I shot this with the camera sitting on the edge of the table or on top of a water glass which means I would have also cropped it after the fact.