aplumpton

To the extent to which they can easily be seen, the faces in the examples of two photographers and the four examples of the painter provide much of their messages, complemented to differing degrees by the position of their bodies and the surrounding elements. There are I think much better creations of Arbus and Frank than these two images. The Arbus just shows us that the woman is reading apparently alone in a dark room and we are shown (the principal message of the image?) that this is made possible via a bright window very present in the photo. Other than the fact that she is alone, what else? The Frank gives us a jukebox and restaurant as secondary subject, with lots of lens flare and blur, with the main subject being a man (in that overall and usual or common environment) ostensibly reading as well. Perhaps his hand over his right ear is an attempt to isolate himself from the music or noise, or simply a comfortable pose while reading? Can we justifiably comment here in regard to these two images, and perhaps also in the POW, the words "so what?" Maybe, but also maybe not. The Hopper paintings show isolated individuals in well constructed compositions (which is also the case of Hani's image, in sole respect of the compositional elements) of other elements than the principal subject. To some degree, those elements and color palettes make the Hopper images and we can perhaps presume that the original composition of Hani's photo also makes his. Unlike all the forgoing examples chosen by Julie, we are not privileged to see his or her face, and the attire (trousers, socks, standard shoes) do not provide any particularly vivid hint to the nature of the person reading (And is there a child hung onto his back, other persons positioned within the samne space that he occupies, or other?). If instead the pants were green, or magenta, or the shoes instead colorful running shoes, we might think more about the nature of the person. So we come back (sorry, at least I do) to the supposed secondary subject of the linearity of the compositional elements and their juxtaposition, and to the apparent main message of the image which is seemingly simply graphical and non emotive. Among the persons with visible faces in the six examples of Julie, there is much more I think that can be said about the constructions of Hopper. He has chosen the surrounding elements to correspond well with the situation of his main subjects. Hani has some very interesting and original compositional elements, but I believe that they are not shown to be particularly relevant to the situation of the human subject. I guess that is where I unwind in what I get from the otherwise original POW.

Absence is effective in inciting the viewer to imagine something that is not present or what the photographer has purposely excluded. The strength of an image becomes that which is imagined. Curiosity (both that of the viewer and the photographer) and exploration (the photographer) are good companions. The portfolio of Hani shows that he is very open to exploration and therefore very willing (like a researcher) to accept both ordinary and strong images, those that go beyond ordinary and seemingly complete or evident visual records. While I find that his present image promises more than it delivers, I admire his explorative personal approach in street photography. Exploration and curiosity are valuable parameters in making successful images.

I think what makes this picture to the degree that it does is the choice by the photographer of the graphical elements of composition and his angle of view. After that it seems to run out of steam, as the subject does not reveal anything of more interest. Using an unnatural color palette, or eye candy, may be compelling to some viewers, but it reveals little (chromatically, emotionally, graphically) that I can connect with and I am left with the thought that it would be of equal interest if it were in black and white.

It's interesting how shadows and uncombed hair can give an impression that I think in this case is is not mirrored in the subject's expression. His mouth is key. It is neither aggressive or smiling, but simply expressing content that he is the subject (he is hunched over in that anticipation and not in any attempt to threaten the photographer). The centring is for me very agreeable, as it is balanced by the important secondary subject to his left that gives a hint to the man's activity. An agreeable portrait.