Waiting

[RSL]

-

[amolitor]

Technically and visually this is a real tour de force, well done. I love the wild level of detail available from the brightest highlights to the darkest shadows, and I love the maxed out tonal range. You've done a really really great job placing tones to capture the feeling of bright morning(?) sun. The subject is wonderful, both visually and as social commentary, and I think you've succeeded admirably on both fronts.

The framing is fascinating. The centerline of the frame runs right down the middle of the two natural centerpoints. How deliberate was this? Anyways, the effect is to create some visual tension and push things just slightly off kilter, pretty much enough to avoid the bland feeling of a truly centered subject.

The one quibble I have is that it strikes me as a little busy for a social commentary shot -- there's so much visual goodness going on it's easy to lose sight of what's going on (the church, the textures, the framing branches, all so visually rich and satisfying), and there's a little too much social commentary for a purely decorative photograph. It's an interesting stylistic choice, and definitely distinguishes you as "not just a Walker Evans wannabee" but I have to say I'm not sure it *works* perfectly.

This feels like a landscape photographer trying to do journalism

[RSL]

Au contraire,  Amolitor. I've concentrated on street photography most of my life, and I've been shooting people since 1953, when I was flying F84s out of Taegu, Korea. Check my web. I think there's one Asian picture there without a person in it, but that one substitutes a bunch of laundry for the people. I also love dying prairie towns and abandoned farmhouses. I rarely do landscape, though I plan to begin doing a lot more of it once my D800E arrives. Interesting that you should mention Walker Evans, since he and Elliott Erwitt have been my favorite photographers for a very long time, though I have to confess to many hours with HCB's work as the source of most of my photographic education.

The way the picture's centered is deliberate, and the picture's not cropped.. I shot four frames -- two horizontals and two verticals, and had to wait for people to move through the scene and into the church between shots.

Yes, it's very busy for social commentary, and the result is the kind of ambiguity that struck me when I saw it. I still don't know whether she was going in, coming out, or just waiting for someone.

In any case, thanks for the kind words.

[wolfnowl]

Well seen, Russ, and well captured!

Mike.

[Rob C]

I'm still waiting for comments on the 'verticals' in the middle of the piccy... (Warning: this is an attempt at an Internet joke.)

Rich tonality indeed, and a hell of a comment on disability, too. I imagine that tonality, however, is the last thing to concern you when doing this: it's the message that counts and the 'colour/look' is a fine touch of good fortune.

Rob C

[seamus finn]

Lovely image loaded with pathos which slowly reveals its story. Look at the tableau going on inside the church as it relates to the woman in the wheelchair. Great shot, Russ.

The one quibble I have is that it strikes me as a little busy for a social commentary shot -- there's so much visual goodness going on it's easy to lose sight of what's going on (the church, the textures, the framing branches, all so visually rich and satisfying), and there's a little too much social commentary for a purely decorative photograph. It's an interesting stylistic choice, and definitely distinguishes you as "not just a Walker Evans wannabee" but I have to say I'm not sure it *works* perfectly.

This feels like a landscape photographer trying to do journalism

I don't think so, with all due respect.

The picturesque church is a happy chance. It's not the picture. It's just the location where a moment in time illustrates an aspect of the human condition.  The pretty structure could equally be a tin shed. The journalism here is all about the lady in the wheelchair, her isolation from what's going on inside, her wistfulness perhaps, her thoughts as she watches the progress of the little girl being led up the aisle.... the speculations are endless.

A landscape photographer wouldn't have a wheelchair within a mile of the shot.

[amolitor]

I suppose I should start signing my name to posts or something, so people know what to call me. I've been "amolitor" for 25 years now, and I wildly resist any more useful handle for forums and suchlike.

I should have checked your link before snarking off about landscape photographers, my apologies! Anyways. After sleeping on it, I am still on the fence about how well the intensely attractive frame works with the social commentary. I think it means success that I am still wrestling with it, though, right?

Also, I'm glad you're taking time to share with us before your D800 arrives. When you are cybernetically connected to all the other D800 users through the Nikon Mainframe into the vast overmind, our follies will seem as activities of ants, and communicating with us will simply be too difficult.

Andrew

[William Walker]

Hi Russ

I don't recall any other photograph that has caused me to spend as much time interpreting all the possibilities that are available here.

The most prominent of these is the idea that the person in the wheelchair is being cruelly "mocked" by the hand-railings - they are leading you, encouraging you, into the church, telling the person in the wheelchair to "get up, we'll give you a hand to get inside" knowing full-well that she can't.

The stained-glass window gives the person stranded outside a glimpse of the wonders within... The cross says, "no entry!" All, of course, contrary to Christianity itself.

If I may quote someone who spends some time here...."Bravo!"

William

[Rob C]

I suppose I should start signing my name to posts or something, so people know what to call me. I've been "amolitor" for 25 years now, and I wildly resist any more useful handle for forums and suchlike.

I should have checked your link before snarking off about landscape photographers, my apologies! Anyways. After sleeping on it, I am still on the fence about how well the intensely attractive frame works with the social commentary. I think it means success that I am still wrestling with it, though, right?

Also, I'm glad you're taking time to share with us before your D800 arrives. When you are cybernetically connected to all the other D800 users through the Nikon Mainframe into the vast overmind, our follies will seem as activities of ants, and communicating with us will simply be too difficult.Andrew

I think you jest, but that's a most unlikely scenario you imagine! I think he'll just keep on shooting as usual and not think too much about the new babe at all. That's for youngsters... we mature gents take it all in our stride.

;-)

Rob C

[RSL]

Thanks for the ego boost Mike, Rob, Seamus, Andrew and William. I found I wasn't getting out and shooting as much as I should, and it seemed that even when I got out I was losing it. That feeling comes along every once in a while and it's always a relief to have somebody say, "Hey, that's good," and snap me out of the slump. I think most of us forget how many losers one has to shoot in order to have a chance at a winner.

Yep, Rob, we kids simply can't resist a new toy. But B&H tells me it's going to be at least two and a half months before I'll be able to produce triumphs with 36.3 megapixels and no AA filter. In the meantime I'm trying to stay calm and avoid sleepless nights.

[WalterEG]

This is a wonderful photo RSL and I was going to comment when I first saw it but then all the clap-trap sprang up and I was put off by the irrelevant psycho-babble and misunderstanding of the craft.

Here in Australia it became compulsory some years ago for all public buildings (including places of worship) to have what was then referred to as disabled access.  Ramps as an alternative to stairs.  I'd venture to say that the ramp option would also be available in the US of A.  And so the anguish of denied entry is probably unjustified and what we have is, as the title suggests, somebody actually waiting for someone inside to come out and depart for coffee, or home, or a gambling den.

How it is decided that the "Cross" says 'No Entry' is beyond me.  It has come to mean quite the opposite over the centuries although the original occupant of the cross may have found it somewhat forbidding.

Cheers, and thanks for posting a cracker of a shot,

[louoates]

This is as good as it gets no matter what you call the category. I can barely see a white dress (bride's dress?) inside the church. If it is a wedding going on inside, the image doubles in power.

[Arlen]

I found I wasn't getting out and shooting as much as I should, and it seemed that even when I got out I was losing it. That feeling comes along every once in a while and it's always a relief to have somebody say, "Hey, that's good," and snap me out of the slump. I think most of us forget how many losers one has to shoot in order to have a chance at a winner.

You probably know it, but a lot of us could say "amen" to that, with conviction.

With this image, it looks like you're back in the saddle again.

[Rob C]

You probably know it, but a lot of us could say "amen" to that, with conviction.

With this image, it looks like you're back in the saddle again.

No, if he'd been in (on?) the saddle he'd have had a higher vantage point that would have absolutely altered the spatial arrangements and put a finger of doubt onto (into?) the entire spiritual concept. Higher vantage points for photographers imply (and impart) a sense (to the viewer) of an exalted sense of self; a sense of superiority that doesn't sit well with the fundamentals of belief or, in some cases, of disbelief, either in (of) the meaning of sanctuary or permanence within the scheme of things of the soul, of those corners seldom illuminated by the harsh light of a brilliant American Sun. Or anybody's sunlight, come to think of it, but sunlight inland is more pure than sunlight by the ocean which is inevitably contaminated by moisture always in the air. That's why they build observatories up in the high mountains and not at holiday resorts by the Mediterranean. Of course, were they to situate them by the Mediterranean, they would inevitably get stolen or be vandalised, or become the lurking ground for low-class hookers.

Russ was with feet firmly where they should be, not up in anyone's stirrups.

Coffee calls.

Rob C

[seamus finn]

[quote I was going to comment when I first saw it but then all the clap-trap sprang up and I was put off by the irrelevant psycho-babble and misunderstanding of the craft.][/quote]

I wonder could you expand on that a little?

[William Walker]

[quote I was going to comment when I first saw it but then all the clap-trap sprang up and I was put off by the irrelevant psycho-babble and misunderstanding of the craft.]

I wonder could you expand on that a little?

Thanks for that seamus.

As someone who was included in this comment, I too would be keen to hear more of Walter's thoughts. I am always eager to learn.

William

[Tony Jay]

Russ it is a great image and in the manner of any piece that has artistic merit is also up for interpretation.

Regards

Tony Jay

[jule]

LOVE this image! It is really holding my interest and keeps me wondering and asking questions about the lady outside sitting. I have pondered many scenarios and she may not in actual fact be 'waiting' either. She mightn't like being inside..and it could be her way of attending 'Sunday church' - (and making a quick getaway) (Just having a bit of a giggle and not meaning to offend anyone )
Without the trees framing the church, the sense of 'something hidden' to explore or think about would not be there.

Thanks so much for this treasure.
Julie

[Rob C]

[quote I was going to comment when I first saw it but then all the clap-trap sprang up and I was put off by the irrelevant psycho-babble and misunderstanding of the craft.]

I wonder could you expand on that a little?

Not claiming to speak for Walter, nor even to expand on his behalf, but my psycho-babble is wholly acceptable whereas anyone else's psycho-babble most assuredly is not. (You should see it in its pristine condition, when it's written and not corrected for digital - in the sense of typing-finger - dyslexia!)

I believe there are courses now where you can major in it (art psycho-babble) and end up in a career doing litle else. Were I younger, I might have investigated the possibilities.

Rob C

[RSL]

Here in Australia it became compulsory some years ago for all public buildings (including places of worship) to have what was then referred to as disabled access.  Ramps as an alternative to stairs.  I'd venture to say that the ramp option would also be available in the US of A.  And so the anguish of denied entry is probably unjustified and what we have is, as the title suggests, somebody actually waiting for someone inside to come out and depart for coffee, or home, or a gambling den.

We have the same kind of law, Walter. It was passed in the early eighties, when I was mayor of Manitou Springs, (which, incidentally, is where this church lives). At that time the city was running a pair of trolleys made with antique cars from the Pikes Peak Cog Railway, modified to run on the streets. One day shortly after the law was passed I was called into a meeting between the city manager and a group of disabled people and their advocates. The group was demanding that the city put hydraulic lifts on the cog cars so that people in wheelchairs would be able to ride them. We tried to find a way to do that, or at least find some way to help disabled people get on and off the trolleys, but it turned out that no amount of work or money was going to be able to modify the antiquated vehicles to do that. So we called in the group and went over the engineering facts with them. Unfortunately they insisted that if we didn't modify the cars they'd sue the city. In the end we had to shut down the service and give the trolleys back to the Pikes Peak Cog.

Yes, there's a ramp on the side of the church.