Well done, Nigel,
You composed the picture also well. Did you click away as she came up from the water?
You may have two more frames for a vertical triptych!
Asher
Sorry Again Asher
This really a beautiful portrait, and at 28mm Nigel was so close t her!, but we don't need the entire story, we are creative enough to imagine before and even after…
Did she embrace the photographer or did she dive again?
Let's the image maker keep his secrets!
That's the power of a single photograph!
We call it an image…
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This brings up an interesting subject for debate: Nicolas has a point...there's a lot to be said for letting your imagination create the back story. I see a trend amongst photographers to try and caption every image explaining it instead of letting the image speak for itself. After all isn't it worth a thousand words?
This brings up an interesting subject for debate: Nicolas has a point...there's a lot to be said for letting your imagination create the back story. I see a trend amongst photographers to try and caption every image explaining it instead of letting the image speak for itself. After all isn't it worth a thousand words?
agree...and i will show more from that sequence
Well done, Nigel,
You composed the picture also well. Did you click away as she came up from the water?
You may have two more frames for a vertical triptych!
Asher
This brings up an interesting subject for debate: Nicolas has a point...there's a lot to be said for letting your imagination create the back story. I see a trend amongst photographers to try and caption every image explaining it instead of letting the image speak for itself. After all isn't it worth a thousand words?
Mike,
The picture, itself doesn’t evoke the poet’s words, just my lust for more of life. I unabashedly stop, even when with others, to devour sights of trees with blossoms, couples hugging, an old water tower or a dragon fly on patrol, plotting its course to intersect an insect on the wing and, without altering its course, start dismembering its prey and feeding, looking for the next victim. I take everything in, from a bird on the telephone wire to a comely girl leaning on one booted foot, waiting to cross the road.
So, when Nigel shows me the peak action, I know there were more from that session. That’s when the cry of the poet’s “woman in the darkened door” echoes in my brain and drives me to also ask for more!
As to the picture speaking for itself, that CAN be true, (that it can adequately explain itself), for sunsets, horses in meadows, sheepdogs herding in the sheep, mothers nursing infants and the like or an old abandoned shack, succumbing to the will of nature to reclaim it. .
Many other images do, indeed, almost always require introduction, prior specific knowledge and/or context to have any chance of the resultant evoked emotions and thoughts being anywhere near congruent with the intention of the artist, beyond the shapes acting as a kind of “Rorschach Inkblot Test”!
Nicolas simply follows the stoicism, good manners and discipline of the poet’s “Old man leaning on his wooden crutch”! He sees one wonderful picture and appreciates it very much, (just as I do). He also knows there must be more, but wouldn’t dream of appearing intrusive or unsatisfied.
Asher