Cedric MASSOULIER
New member
Nikon D700 & AF-D 1.8/50
Raw file in Capture One Pro
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Three people and a Hand
- Thread starter Cedric MASSOULIER
- Start date
Nikon D700 & AF-D 1.8/50
Raw file in Capture One Pro
Asher Kelman
OPF Owner/Editor-in-Chief
Thanks Cedric for permitting me to try some ideas on your interesting image.
Cedric Massoulier 3 Bars and a girlEdits with permission AK
I like recognizing the importance of the girl. I'll also think about how we are seeing this.
Asher
Cedric Massoulier 3 Bars and a girlEdits with permission AK
I like recognizing the importance of the girl. I'll also think about how we are seeing this.
Asher
Last edited:
Rachel Foster
New member
My first response was to suggest cropping out most of the jacket and cutting just past thewoman's face.
Asher Kelman
OPF Owner/Editor-in-Chief
Cedric,
Thinking about this more, I thought of showing a concept of seeing this through a window. So I have made a metal frame. The form is also rectangular and I've sketched in an addition to the lower portion, of course.
Cedric Massoulier 3 Bars and a girl Edits with permission AK
The girl, the framed subject, we can see is pretty, intriguing and a mystery. The idea that someone is potentially knowable and yet barred from us by privacy would complete one whole concept.
Asher
Thinking about this more, I thought of showing a concept of seeing this through a window. So I have made a metal frame. The form is also rectangular and I've sketched in an addition to the lower portion, of course.
Cedric Massoulier 3 Bars and a girl Edits with permission AK
The girl, the framed subject, we can see is pretty, intriguing and a mystery. The idea that someone is potentially knowable and yet barred from us by privacy would complete one whole concept.
Asher
Cedric MASSOULIER
New member
Hi Asher,
Mmm, your ideas are interesting, i have to think about them... Let me some time to answer
Regards,
Cedric.
Mmm, your ideas are interesting, i have to think about them... Let me some time to answer
Regards,
Cedric.
Charles L Webster
pro member
Nice Shot Cedric, I shot on buses and trains often in my youth. It can provide many interesting captures.
I like Asher's crop. It does 2 things, 1) removing the bright spot at the jacket back that draws the eye away from the woman's face, and 2) makes the vertical poles the frame-binding object on the right. These combine to make the picture more focused (pun intended) on the subject.
But, I don't like Asher's frame, I think it's unnecessary with his crop.
Best wishes,
<Chas>
I like Asher's crop. It does 2 things, 1) removing the bright spot at the jacket back that draws the eye away from the woman's face, and 2) makes the vertical poles the frame-binding object on the right. These combine to make the picture more focused (pun intended) on the subject.
But, I don't like Asher's frame, I think it's unnecessary with his crop.
Best wishes,
<Chas>
Rachel Foster
New member
I don't like frames (other than real in a photo) period, usually.
Asher Kelman
OPF Owner/Editor-in-Chief
Nor do I Rachel!
It's not really a frame but a picture element, a form of grey to focus us through a train window from the outside. The idea is to make us observers not participants!
Asher
Rachel Foster
New member
Ah, ok! Thanks for the explanation.
Maris Rusis
Member
It is problematic finding a reason for looking at this picture. Truly, why should one bother?
Well, a powerful reason could be that it is an artistic production of Cedric Massoulier. An artist, at the top of their powers, can make pictures that are the physical equivalent of "mind maps". The picture then would include, in coded form, what Cedric saw, felt, and thought; and all of these strongly enough to prompt the making of the picture itself. If we were clever enough or had sufficient subtlety of mind we would be able to read the pictorial code. We could, in a shadowy way, be Cedric Massoulier for the moments we invest in looking at the picture. This shared experience amounts to the artistic equivalent of Star Trek's Mr Spock offering us a Vulcan mind meld.
An alternative reading could be that the picture is debris emanating from camera play. Cedric Massoulier need not have thought very much, cared a lot, or tried very hard to make it. There really could be little obvious value here. But the picture is shown in the earnest hope that someone, anyone, can find a deep significance in it that would otherwise be neglected. If this is possibly the case then again there is a strong reason to look.
Even if the picture is a failure there may still be value in looking. We could be faced with a novel form of the venerable Rorschach Ink Blot test. Now the picture offers us a tool whereby we can look into ourselves. And it would be a miserable critic who would decry an opportunity for personal insight.
Finally, the picture may actually be a waste of eyesight and it would be better to look at something else. The reasons for this opinion could be explored at length. But there is no need to do so because the original poster has doubtless agonised over the matter and decided in the affirmative. Discovering what those internal deliberations were would be genuinely fascinating. Unfortunately, looking at the picture is no help.
Well, a powerful reason could be that it is an artistic production of Cedric Massoulier. An artist, at the top of their powers, can make pictures that are the physical equivalent of "mind maps". The picture then would include, in coded form, what Cedric saw, felt, and thought; and all of these strongly enough to prompt the making of the picture itself. If we were clever enough or had sufficient subtlety of mind we would be able to read the pictorial code. We could, in a shadowy way, be Cedric Massoulier for the moments we invest in looking at the picture. This shared experience amounts to the artistic equivalent of Star Trek's Mr Spock offering us a Vulcan mind meld.
An alternative reading could be that the picture is debris emanating from camera play. Cedric Massoulier need not have thought very much, cared a lot, or tried very hard to make it. There really could be little obvious value here. But the picture is shown in the earnest hope that someone, anyone, can find a deep significance in it that would otherwise be neglected. If this is possibly the case then again there is a strong reason to look.
Even if the picture is a failure there may still be value in looking. We could be faced with a novel form of the venerable Rorschach Ink Blot test. Now the picture offers us a tool whereby we can look into ourselves. And it would be a miserable critic who would decry an opportunity for personal insight.
Finally, the picture may actually be a waste of eyesight and it would be better to look at something else. The reasons for this opinion could be explored at length. But there is no need to do so because the original poster has doubtless agonised over the matter and decided in the affirmative. Discovering what those internal deliberations were would be genuinely fascinating. Unfortunately, looking at the picture is no help.
Asher Kelman
OPF Owner/Editor-in-Chief
Julius Caesar said:
I would update this for Cedric Veni, vidi, cepi; I came, I saw and so I received. We photographers try not to pass by life without taking in, receiving into our consciousness as much as what fascinates us as we can. Now we are recording this detail anyway, but to prevent data overload and dysfunction, (even insanity), most is immediately hidden, (and thus ablated from our available memory).
Photographs act as a scaffolding upon which to reframe things we observed, hear and felt. It defeats to some extent the endless wiping clean the slate of our consciousness. Why we take photographs is complex. Maybe, in part, at least, it's that we wish to be fully aware of the more of this voyage of life and and so decrease the numbness to what we see and so ignore, and stem the lost of the beauty and beasts that pass us by.
Photography then acts to defeat numbness, that just one simple function, but so basic. We bother to look at Cedric's picture because we are curious as to what interested him. If it is satisfying, we may look at it again or search out other such photographs by him or if unsatisfied, maybe next time not bother to give any attention at all.
Yes, Maris,
I think to some extent we do try the vulcan Mind Meld but don't expect a clear translation of Cedrics thought, just some general sense of the sort of things he might have been thinking given he is a young male, notices women, has framed one and has made the men ambiguous.
It's likely that Cedric does not expect anything more than this because all he claims to have done, is Veni, vidi, cepi It's not more than that, a testimony of not being numb.
Don't think so!
That's likely always true to some extent. Sometime that's all there is, LOL!Maris Rusis;76709 [B said:
So Maris, I think the photograph is an argument against numbness and sharing just gives others the opportunity to experience something more for entertainment or if they have the tools to read something more of life or themselves. Each of us will have different backgrounds and baggage so all the photographer can say is, here's my photograph, Veni, vidi, cepi!
Asher