Paul Abbott
New member
Taken today (02/11/09) in Whitechapel, London.
Paul Abbott - Construction - Whitechapel, London '09 #8
Paul Abbott - Construction - Whitechapel, London '09 #8
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Construction - Photo Project #8
- Thread starter Paul Abbott
- Start date
Asher Kelman
OPF Owner/Editor-in-Chief
Constructing this picture!
Hi Paul,
The plywood on the foreground form an array pointing to the truck. The verticals go well with the tower in the b.g. The power is concentrated on the truck and it has power.
What's so great about your work is that you are driven by an inner set of principles so your pictures line up as a series that gets meaning far beyond the individual value of one snap! Here I ask why you didn't allow the mosque's dome to be seen in whole and get the crane structures to repeat the vertical form of the minaret tower?
I'm not saying you're wrong, but why? Is my suggestion too obvious?
Asher
Taken today (02/11/09) in Whitechapel, London.
Paul Abbott - Construction - Whitechapel, London '09 #8
Hi Paul,
The plywood on the foreground form an array pointing to the truck. The verticals go well with the tower in the b.g. The power is concentrated on the truck and it has power.
What's so great about your work is that you are driven by an inner set of principles so your pictures line up as a series that gets meaning far beyond the individual value of one snap! Here I ask why you didn't allow the mosque's dome to be seen in whole and get the crane structures to repeat the vertical form of the minaret tower?
I'm not saying you're wrong, but why? Is my suggestion too obvious?
Asher
Paul Abbott
New member
Thanks very much, Asher.
In this scene I instantly recognised how the tops of the cranes were like crescent moons, giving analogy with the mosque crescent moon, atop the single minaret. Also, the boards in the foreground made me think of carpet mats that muslim clerics sometimes place at the entrances to mosques, here in the UK. I do love analogy in a photo.
We have great quality of light here in the UK at this time of year, the sun stays low in the sky at all times of the day. Also, we have better blue skies than in the summer. Thats when the sun chooses to shine that is. The light was just right for this scene, emphasising the cranes and the mosque.
In regard to what you suggested, there was no other shot of the scene really, the composition wouldn't have worked so well either I feel.
Regards.
In this scene I instantly recognised how the tops of the cranes were like crescent moons, giving analogy with the mosque crescent moon, atop the single minaret. Also, the boards in the foreground made me think of carpet mats that muslim clerics sometimes place at the entrances to mosques, here in the UK. I do love analogy in a photo.
We have great quality of light here in the UK at this time of year, the sun stays low in the sky at all times of the day. Also, we have better blue skies than in the summer. Thats when the sun chooses to shine that is. The light was just right for this scene, emphasising the cranes and the mosque.
In regard to what you suggested, there was no other shot of the scene really, the composition wouldn't have worked so well either I feel.
Regards.
Asher Kelman
OPF Owner/Editor-in-Chief
Building a photograph by weighing each element. "What does each part need and do?"
Hi Paul,
Allow me to press my case further at the risk of being a PIA! I strongly feel that you have all the elements for a well constructed picture with all the elements contributing to the final result. A feature like the dome cannot be simply obstructed by a powerful vertical without having this having meaning. If one has a wider angle lens and shoots landscape format from low down, the plywood as "carpets" will be well imaged and one would get detail and the edges would be finely drawn. Then if one is to the right of the truck, the dome of the mosque can be revealed fully and the verticals of the foreground arranged in a line coming from the tower. If not this, then another version which builds on the fully formed importance of the mosque to juxtaposed with the unknown ambitious construction. BTW, what is being built?
This image might be reconsidered with a series of sequential sketches and multiple visits. It's work but the pay-off could be great. I know I'm being a difficult guy on this, (but having seen your dedication to not having just one-off snaps and evidence that you're trying to build a coherent series), your work is well worth holding to a higher standard. It can be much more than "an interesting snapshot of new construction underway in London".
You, however, start with passion and then have the eye for finding interesting locations. Still, it's worthwhile to go the extra step and present a world of your constrcution we can be seduced into, leaving, bringing some of our our baggage, yes, but having to walk and wonder in your universe.
For all this to work, your creation has to be fully 3 dimensional and realized.
So forgive me in being so pushy, but I'd love to see you do more with this since there's so much potential. I'm not saying my suggested composition is the one for you to go after. It's just a possibility that perhaps can't be constructed. However, if you don't sketch with a pencil and paper or in your mind other versions that you can build, then how you do better? It's about fully putting into your image all the elements weighing the right amount. Without that, you are not exploiting enough of your wit, insight, imagination and creativity.
Forgive my bulldog stance, but I believe it might pay off or I wouldn't risk offending you.
Asher
Hi Paul,
Allow me to press my case further at the risk of being a PIA! I strongly feel that you have all the elements for a well constructed picture with all the elements contributing to the final result. A feature like the dome cannot be simply obstructed by a powerful vertical without having this having meaning. If one has a wider angle lens and shoots landscape format from low down, the plywood as "carpets" will be well imaged and one would get detail and the edges would be finely drawn. Then if one is to the right of the truck, the dome of the mosque can be revealed fully and the verticals of the foreground arranged in a line coming from the tower. If not this, then another version which builds on the fully formed importance of the mosque to juxtaposed with the unknown ambitious construction. BTW, what is being built?
This image might be reconsidered with a series of sequential sketches and multiple visits. It's work but the pay-off could be great. I know I'm being a difficult guy on this, (but having seen your dedication to not having just one-off snaps and evidence that you're trying to build a coherent series), your work is well worth holding to a higher standard. It can be much more than "an interesting snapshot of new construction underway in London".
You, however, start with passion and then have the eye for finding interesting locations. Still, it's worthwhile to go the extra step and present a world of your constrcution we can be seduced into, leaving, bringing some of our our baggage, yes, but having to walk and wonder in your universe.
For all this to work, your creation has to be fully 3 dimensional and realized.
So forgive me in being so pushy, but I'd love to see you do more with this since there's so much potential. I'm not saying my suggested composition is the one for you to go after. It's just a possibility that perhaps can't be constructed. However, if you don't sketch with a pencil and paper or in your mind other versions that you can build, then how you do better? It's about fully putting into your image all the elements weighing the right amount. Without that, you are not exploiting enough of your wit, insight, imagination and creativity.
Forgive my bulldog stance, but I believe it might pay off or I wouldn't risk offending you.
Asher
Last edited:
Paul Abbott
New member
Ultimately, I am very happy with this scene and I don't take any issue in covering the dome like I did. Things in this scene were changing very quickly, so I had to be quick to get the shot.
Soon afterwards the scene changed and paled in comparison to what I got. I couldn't get a shot left or right as there were high walls on either side of the frame. I couldn't go in closer as it was private property and I would have to be wearing a hardhat.
Soon afterwards the scene changed and paled in comparison to what I got. I couldn't get a shot left or right as there were high walls on either side of the frame. I couldn't go in closer as it was private property and I would have to be wearing a hardhat.
Asher Kelman
OPF Owner/Editor-in-Chief
Thanks for allowing my critique! I guessed yo might have been limited by the mud, access or time!
Asher