Light and Shadow

[Hans Kruse]

Or maybe double light It is sometimes interesting to see the reaction to different pictures and maybe this is one such example with not so much going on except the light and shades of shadows.

It was shot high up from the Val di Funes valley where you find the Santa Maddalena church and village. When shooting in the morning versus afternoon which everybody else does, the sun hits the Odle mountains and also the high meadows as in this picture and you can see the overview of the mountains in the second picture below. It is also possible to see a tiny Sct. Jacobs church down in the valley.

Light and Shadow by Hans Kruse, on Flickr

Val di Funes with the Odle peaks by Hans Kruse, on Flickr

[Eric Myrvaagnes]

Both excellent, as usual, but I particularly enjoy the elegant, minimalist simplicity of the first one.

[Slobodan Blagojevic]

I came to this post earlier this morning, but was struggling how to respond. I already like them on Instagram and Facebook, but this forum doesn't have a "like" option. I couldn't do +1 as I would have been the first responder (heroes, those guys). I could write "I like it" or do +1 now, after Eric, but somehow felt such a simple, easy, and lazy option is not fair to Hans.

So I am forced now to wax lyrical about it

The images epitomize the breadth of classic landscape photography: from a tight, intimate view, to a grand vista. From almost abstract, to documentary. While at the same time, and in both cases, retaining the veracity inherent to photography.

Sometimes, the nature is so beautiful that the best we could do is to record it. Some will pooh-pooh that as not creative enough, or at all. That we are just opportunistic bystanders, with enough bladder stamina, to wait for God's creativity to show up.

Hans' images show what else is needed: the ability to extract a detail from the reality and transform it into something else - an interplay of shapes and forms, lights and shadows; the ability to recognize good light when it happens, and incorporate it in a successful composition by choosing the view angle and standpoint, until the decisive moment happens, when geometry fits the subject, and form fits the function.

How's that for +1?

[stamper]

Both excellent, as usual, but I particularly enjoy the elegant, minimalist simplicity of the first one.

[/quote

Agreed! no need to elaborate further.

[RSL]

Both excellent, as usual, but I particularly enjoy the elegant, minimalist simplicity of the first one.

+2

[Eric Myrvaagnes]

I came to this post earlier this morning, but was struggling how to respond. I already like them on Instagram and Facebook, but this forum doesn't have a "like" option. I couldn't do +1 as I would have been the first responder (heroes, those guys). I could write "I like it" or do +1 now, after Eric, but somehow felt such a simple, easy, and lazy option is not fair to Hans.

So I am forced now to wax lyrical about it

The images epitomize the breadth of classic landscape photography: from a tight, intimate view, to a grand vista. From almost abstract, to documentary. While at the same time, and in both cases, retaining the veracity inherent to photography.

Sometimes, the nature is so beautiful that the best we could do is to record it. Some will pooh-pooh that as not creative enough, or at all. That we are just opportunistic bystanders, with enough bladder stamina, to wait for God's creativity to show up.

Hans' images show what else is needed: the ability to extract a detail from the reality and transform it into something else - an interplay of shapes and forms, lights and shadows; the ability to recognize good light when it happens, and incorporate it in a successful composition by choosing the view angle and standpoint, until the decisive moment happens, when geometry fits the subject, and form fits the function.

How's that for +1?

+10!   

[Jeremy Roussak]

How's that for +1?

Pretty damn good. I agree entirely.

Jeremy

[Hans Kruse]

Thanks very much to all and especially to Slobodan