Reuse & Recycle

[James Lemon]

 

[Asher Kelman]

James,

A complex and effective composition. Reminds me of the multi-activity works of Pieter Brueghel the Elder, where he has multiple separate actions going on in a scene. Today, we mostly see one major central subject.

The main subject here would appear from first glance and from your title, "Reuse and Recycle" to be the men on the left appearing to haggle over some trade of used goods. But then the dog on the right with a leash, trailing like a gesture of freedom on the ground, seems to rise to become the protagonist. The dog, it appears, is beyond all the haggling we do. It paradoxically tied and free at the same time.

There is a special, seemingly mundane, element in the wall above the dog which I consider important in the success of the composition. It's an oval darkening of the grout on the white wall above the dog, which balances the dog's seemingly independent stance. I's argue, that if darker area was photoshopped away, the picture would lose much of its impact. The dog then appears to "float". That's a good sign in any composition!

Asher

 

[James Lemon]

James,

A complex and effective composition. Reminds me of the multi-activity works of Pieter Brueghel the Elder, where he has multiple separate actions going on in a scene. Today, we mostly see one major central subject.

The main subject here would appear from first glance and from your title, "Reuse and Recycle" to be the men on the left appearing to haggle over some trade of used goods. But then the dog on the right with a leash, trailing like a gesture of freedom on the ground, seems to rise to become the protagonist. The dog, it appears, is beyond all the haggling we do. It paradoxically tied and free at the same time.

There is a special, seemingly mundane, element in the wall above the dog which I consider important in the success of the composition. It's an oval darkening of the grout on the white wall above the dog, which balances the dog's seemingly independent stance. I's argue, that if darker area was photoshopped away, the picture would lose much of its impact. The dog then appears to "float". That's a good sign in any composition!

Asher

Thank for your appreciation Asher!
I love these old paintings, he sure produced many of them and it would be nice to see them up close in a gallery.

I came across the above scene when parking my vehicle. I got the impression that these people were together in a group and had found this junk abandoned there for whatever reason. I think they were just rummaging through it looking for treasures.

I agree with your keen observation regarding the figure foreground relationship between the dog a brick wall.

Best , regards
James

 

[Asher Kelman]

James,

I really enjoy the folk you meet and ask to stop for a picture. You do really well getting some essence of the character.

Here you have not done that but you've sample life as it really happens and it has an entirely different feeling. Continue on the individual shots and studies of denizens, but the observation of natural behavior like you have done here is on a special plane of its own and I would love to see more.

Are you using your 50 mm for this?

A longer lens might be allow more stealth! But then you would be a differ guy, LOL!

Asher

 

[James Lemon]

James,

I really enjoy the folk you meet and ask to stop for a picture. You do really well getting some essence of the character.

Here you have not done that but you've sample life as it really happens and it has an entirely different feeling. Continue on the individual shots and studies of denizens, but the observation of natural behavior like you have done here is on a special plane of its own and I would love to see more.

Are you using your 50 mm for this?

A longer lens might be allow more stealth! But then you would be a differ guy, LOL!

Asher

Thanks Asher!

Yes a 50mm 99.9 percent of the time. A long lens would be too voyeuristic for my liking. Although I

do have a beautiful Summicron APO 90mm that works good for concerts and the occasional portrait.

Best, regards
James

 

[Asher Kelman]

............................ Although I

do have a beautiful Summicron APO 90mm that works good for concerts and the occasional portrait.

James,

Neat! That at least puts you across the street. one cannot escape the fact that when one takes a picture without asking first, one is acting as a sort of "bounty hunter" Breton and Capa did it daily! As long as one is not going to humiliate the folk, I see no issue with it.

Point an 800 mm lens from your 4th floor condo window to scan the bedroom windows in the tower opposite and then one is pretty voyeuristic!

You are never doing that so even a 135 mm lens on the street is fine!

Asher

 

[James Lemon]

James,

Neat! That at least puts you across the street. one cannot escape the fact that when one takes a picture without asking first, one is acting as a sort of "bounty hunter" Breton and Capa did it daily! As long as one is not going to humiliate the folk, I see no issue with it.

Point an 800 mm lens from your 4th floor condo window to scan the bedroom windows in the tower opposite and then one is pretty voyeuristic!

You are never doing that so even a 135 mm lens on the street is fine!

Asher

Oh yes I agree Asher but for me its more about the feeling of the image itself. Being up close with a 50 or a 35 and a 28mm gives a much different feeling to the audience as it gives them the sense of being there. Instead of looking at something from across the street. I try to be straight up and up front with my photography whether or not I ask for permission.



James