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People CritiqueDepths

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Psjunkie
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Depths

Post by Psjunkie » Sun Sep 15, 2019 2:39 am

All comment analyzed.....
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Post by PietFrancke » Sun Sep 15, 2019 12:26 pm

a strange surreal image, I see the contemplative little girl first, then I see the dark line slashing across the view, thinking, how the heck did that stray line get there. Then I recognize it as a fishing rod and see the figure in the waves holding it up. Very surreal.

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Post by Psjunkie » Sun Sep 15, 2019 1:25 pm

Glad it was able to hold your attention for more than a glance...

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Post by minniev » Sun Sep 15, 2019 4:18 pm

Psjunkie wrote:
Sun Sep 15, 2019 2:39 am
All comment analyzed.....
That IS surreal. I pay attention to the little girl playing idly at the edge of the shoreline, then I see the drowning fisherman in the waves! What a contrast! And what a crazy image!
"God gave me photography so that I could pray with my eyes" - Dewitt Jones

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Post by Psjunkie » Sun Sep 15, 2019 10:35 pm

Thanks for comment minniev...

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Post by Duck » Mon Sep 16, 2019 12:36 am

As you may already know, I am a staunch advocate for clear and concise storytelling in images. Specially when the story comes through on its own without explanation from the photographer. Unfortunately I don't really understand what this image is supposed to be telling me. Either that is a fault of the image or one in myself, I can't be sure. Let me explain what I mean.

In this scene is this a deliberate action on your part to make a specific comment about the interaction between the two subjects and their individual predicaments? If so then I have to admit I don't understand the message. That's not necessarily your fault, I just don't get it and such things do happen. There are many images I "just don't get".

Alternatively, if this is a photo you spontaneously captured thinking it had some indeterminate interest with no real story other than it was a bizarre scene, then the reasoning may be taken as tenuous at best and lazy at worst.

Taking a photo that captures your fancy and letting other viewers take meaning from it isn't something new. Many photographers have done it and some do it better than others. Some images even take on a life of their own because of it. There is nothing wrong with that so long as the image can grab and subsequently hold the viewer's interest. Henri Cartier-Bresson is one such photographer. Usually these types of images have a particular subject, circumstance or underlying emotion that connects universally with the viewer. The more points of connection the stronger the image is. The other side of that (more frequent) coin is when a photographer thinks they may have something and will toss it out to the community in the hopes they will tell them whether there is or isn't something there. If there is, they bask in their 'accidental' glory and if not... they dismiss it as part of the learning curve. It's human nature.

I am not going to presuppose any of the above, but I can give you my subjective opinion based on my observation.

As others mentioned, the little girl in the forefront is the most obvious subject due to her dominant placement and stark contrast against the waves. She pulled me into the scene immediately and, to be honest, my first thought was, "oh great, another image of the back of a kid playing in the surf." (You have to admit that's quite the ubiquitous beach shot.) It wasn't until I let my eyes wander to the other parts of the image that I realized she wasn't alone in the photo. Unfortunately because of the diminutive scale and the half hidden nature of the subject it took me more than a few seconds to figure out what I was looking at. Partly because of the pole's tip being in tangent with the horizon (there is no break of the silhouette to draw attention) and partly because one doesn't expect a surf fisherman to be up to their chin in the water, holding their pole in a non-standard manner. I also can't tell if there is any sense of distress (I would hope not).

Reading the body language of both the girl on the beach and the chin deep wader I don't find an obvious connection. To me they appear as two randomly different subjects who happen to share the same frame. Alone, each would probably make for an interesting image but together... I'm not making the connection. Again, it could simply be me and I'd love to hear other people's take on the subject.
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Post by Psjunkie » Mon Sep 16, 2019 11:21 am

Thank you for your detailed comments Duck...

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Post by minniev » Mon Sep 16, 2019 4:06 pm

Duck wrote:
Mon Sep 16, 2019 12:36 am
As you may already know, I am a staunch advocate for clear and concise storytelling in images. Specially when the story comes through on its own without explanation from the photographer. Unfortunately I don't really understand what this image is supposed to be telling me. Either that is a fault of the image or one in myself, I can't be sure. Let me explain what I mean.
....
Reading the body language of both the girl on the beach and the chin deep wader I don't find an obvious connection. To me they appear as two randomly different subjects who happen to share the same frame. Alone, each would probably make for an interesting image but together... I'm not making the connection. Again, it could simply be me and I'd love to hear other people's take on the subject.
Interestingly, it is both the connect and disconnect between the two subjects that I find so appealing. And possibly also because I relate to the scene: I've been the little girl digging idly in the wet sand of the waterline, and I've been the fisherman trying to make it to that sandbar that lets you cast to out where you can catch the 'good stuff' (sometimes you take a dunking like this guy). And I've also been the grandma watching the grandkid at the shoreline at the same time I'm watching with caution as my son goes for the sandbar. I'm ready to jump in after either or both. Both are parts of the gulf beach, which looks much less dangerous than it truly is. That contrast between the apparent and assumed safety of the child and the perceived danger to the adult (who has willingly put himself in this predicament) is what kept me looking for more than a moment.

Frank always claims he isn't trying to tell a story with his pictures but this one has a strong story to me, whether he meant it to or not. In a way, I'm kinda like that with my pictures too. My favorites of my own images are those where the story is ambiguous, contradictory, confusing, or otherwise unclear, which forces the viewer to decide what it is. I've read enough that I know that is technically unsound as a practice but yet it is what I like.

And of course, as I always readily confess, I am weird :)
"God gave me photography so that I could pray with my eyes" - Dewitt Jones

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Post by Duck » Tue Sep 17, 2019 1:53 am

minniev wrote:
Mon Sep 16, 2019 4:06 pm
Interestingly, it is both the connect and disconnect between the two subjects that I find so appealing. [...]

And there it is. I did not understand the meaning but now that you have explained your take on it, I can see the appeal. However, as I don't have the same experiences with that particular type of scenario the image doesn't "speak" to me as clearly as it did for you. Further proving the subjectivity of the photographic arts. :thumbup:
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Post by Psjunkie » Tue Sep 17, 2019 2:18 am

We all have our opinions....makes the world go round and they are never right nor or they wrong....they are just yours..

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