Tim_Lookingbill

<blockquote> <p>I would really like to know if there is something in these photographs which I am missing, because apart from "Green Wall" <strong>I can't see why the photographer took these frames.</strong></p> </blockquote> <p>Have you tried asking that question in an email to the photographer? I didn't see anything in your original question that suggests you want to know if the images are good or liked. </p> <p>As for missing something in what's being said by the photographer through his choices of composition and color, that would have to be something you'ld have to determine for yourself and it has nothing to do on whether you like them or if they're good.</p> <p>Maybe if you worded your question with more intent about what you want to know about those images, folks here could stop injecting an alternate meaning into your question. As of yet I have no idea exactly what these images are saying to you that you feel you are missing. Are you seeing with your heart or mind?</p>

<p>Interesting and insightful observation, Julie.</p> <p>I swear I've seen the version where he's centered, not the printed version, in media clips and pop culture montages on TV. But do see how each changes the attitude and perception of Dean's stature. The centered version makes him appear purposeful and powerful walking straight at the viewer in a rain puddle where as the off centered printed version makes him a bit lost and wondering about as if he's looking for someone's address or admiring the buildings like some sightseer.</p> <p>That PetaPixel link doesn't seem to match the tonality of the print you linked to so I'm wondering if quality control and calibration of the system that processed these versions for web viewing is not giving accurate results of the original darkroom edits.</p>

<p>Just remembered a video on Eggleston's life I found indirectly from a thread posted here on his work called "The Colourful Mr. Eggleston" where it shows him wandering about aimlessly taking random point and shoot single shots of anything that crossed his line of sight and struck his fancy. No thinking, no multiple shots at different angles, no fiddling with the camera, a Leica rangefinder.</p> <p>I don't shoot like that but I understood why he did and how it got him the shots that have made him famous. I tend to linger and obsess over what I'm looking at where Eggleston goes for a glancing glimpse that can only be seen in the blink of an eye without time to inject preconceived notions, attitudes and design sense into the final results. It seems every shot is taken with a fresh eye.</p> <p>It did open my mind and give me other ways of shooting outside the box so to speak and I guess that's my first influence from another photographer I could be inspired by and compare myself with. Never heard of Eggleston until I came across a Photo.net discussion on him several years ago.</p>

<p>I often judge myself in how I react to seeing so many wizbang, Marvel Comics style, dynamically rendered images on Photo.net and linked by other members where I end up saying to myself I don't know how to top that, but also don't know why I don't have any feelings or connection to them.</p> <p>I've never seen so many images so beautifully lit and rendered at the same time feel nothing from them to the point I have to get away from them because of this puzzlement. There's so many over the top gorgeous images by numerous photographers that I've become numb to the sameness in their beauty. It troubles me so I try to stay away from them as much as possible.</p> <p>It's like looking at expensive jewelery and knowing you can't afford it but can't explain why you really don't want it even if you could.</p> <p>I like my images though because I've grown attached to them for different reasons and motives mainly from memories acquired during the process of creating them that started from where I was at the time I first saw and framed the scene, snapped the shutter and all the way to final rendering. I remember the joy and satisfaction as well as the journey.</p>

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