Critique Desired: First image of a new theme, ideas requested

[Rachel Foster]

I'm working on a new theme, considering a series along the lines of this image. I was hoping to get any reactions people might have before I say what the theme is. Once I get some sense of what people see or don't see I'll have some idea how to proceed.

What do you think?

Jacob Eliana: Hallway

[charlie chipman]

The scene is mysterious the light dramatic.
There is a story in this picture, much to imagine.

How do they say... this presents more questions than it does answers.
That is a good thing.

I say run with it.

[Asher Kelman]

Rachel,

All I'm willing to say is I'm impressed and interested. I'm unwilling to go further because I fear that I might perturb your ideas which seem to be in a state of some plasticity. This is one thing that I have strong feelings about. You, alone, must be the master/mistress of your own creative juices and draw on your own values privately. If "I like it!" or not or it or if "I find demons in the shadows!" or not, has no bearing on how you should proceed. I feel that it's wrong for any of us to define, (for you or anyone else, or even modulate), what's being expressed. It must be done by the artist personally without intrusion, by calling on their own resources and experience. Then, when it's ready, at least in the first form, put it out to the world with a name if it's to have one!

Certain acts are so private, they must be left to each individual and respected.

To me, making a commitment to a body of artistic work is a serious and if I may be allowed, even sacred act. In this context, I'd assert, we can (or rather should) have no part. First you must make a declaration for the series then, and only then we can comment.

Just my own narrow POV, others are free to disagree, (and that might disappoint me) but that's the way it is! I'd prefer to not have us add material parameters into your own thinking at this early stage.

The best I can do is state that you have my attention and I'm waiting for more.

Asher

[Asher Kelman]

Folk don't have to agree with me! This is an open forum and who says I'm right? Id love to know what other think about the risks of others altering the project by giving feedback before it's actually defined.

Asher

[Doug Kerr]

Hi, Asher,

Originally Posted by Asher Kelman

Folk don't have to agree with me!

I agree (!).

Best regards,

Doug

[Mark Hampton]

Originally Posted by Rachel Foster

I'm working on a new theme, considering a series along the lines of this image. I was hoping to get any reactions people might have before I say what the theme is. Once I get some sense of what people see or don't see I'll have some idea how to proceed.

What do you think?

Jacob Eliana: Hallway

Rachel,

what an image to wake up to - it felt like snow on my hands.. I hope there is another...

cheers

[John Angulat]

Rachel,
It would be impossible to offer advice or comment when presented only one image and not the title or message of the theme itself.
By definition, a theme is a "unifying or dominant idea, motif, etc., as in a work of art".
You need to have the confidence to declare your vision and proceed to develop the body of work.
Once enlightened, the best we can do thereafter is offer critque on either an image itself, or if that image is supporting your intent.

[Rachel Foster]

Thanks, all. I'm seeing this as possibly a theme of emergence. This particular image represents to me emergence from ignorance. I'm planning on other people in the same setting but I won't know what lighting variations or facial expressions to pursue until I see the model in the setting. I can add softboxes and spots at near the camera and there is the one ceiling spot. I'm considering older people and possibly a parent and small child.

[Ken Tanaka]

Originally Posted by Rachel Foster

Thanks, all. I'm seeing this as possibly a theme of emergence. This particular image represents to me emergence from ignorance. I'm planning on other people in the same setting but I won't know what lighting variations or facial expressions to pursue until I see the model in the setting. I can add softboxes and spots at near the camera and there is the one ceiling spot. I'm considering older people and possibly a parent and small child.

This single image strikes me as a "miss" for your "theme", Rachel. A static partially-spotlit man in a dark field does not convey "emergence" any more than submergence. He ain't goin' anywhere. If anything his posture invites us to come towards him (to see him better), thus coming towards the darkness. He has an almost cartoonish appearance and the single light in the drop ceiling is a real buzz-kill.

Remember, form and gesture are everything in imagery. Also, every detail you add to a sparse field takes on greater meaning. Why are this guy's hands in his pocket? Hiding hands is traditionally symbolic of impotence and powerlessness. Why is this figure so tiny amidst the darkness of an office hallway? Yada, yadda...

If you're sincere about your "theme" you need to explore it in many, many other perspectives. Don't take a picture and then ponder it for a week. Spend, for example, four hours in a creative diarrhea fest producing a dozen+ images of rough alternatives that you then consider for further study. That's exactly the way in which many photographic artists get the job done.

It's way, way too early to think about "soft boxes" and other techie nits.

[Asher Kelman]

Originally Posted by Ken Tanaka

Remember, form and gesture are everything in imagery. Also, every detail you add to a sparse field takes on greater meaning.

Ken,

Form, gesture and use of real estate are indeed key features needed to being out the emotions, feelings or ideas intended. These are a good part of a check sheet in setting up staged shots. Thanks! A guide is a worthy companion.


Rachel,

Let me expand this to your own experience. You have photographed staged performances. In a play, there's an underlying theme and everything hangs on that string.

The real estate on the stage is generous. The players posture and move to a sequences of choreographed positions, all mapped out to maintain interest and to balance the drama. As the story unfolds, we discover the characters. We learn their intents and at each stage in the play these are thwarted and they take a new turn to overcome these obstacles or sink further.

In one dramatic photograph, however, the real estate is far more precious, the gestures are fixed and the positions and weights so critical. Unlike street or other "passive" photography where just your observation, timing and position dominate, in your staged shots require your more focused intent, direction and choreography are added to your required skill set.

Just have each person be that character you need to show. As Ken suggests, just photograph a lot of such efforts until you have characters that clearly expresses your intent.

It's a lot of work between photographing people that are doing their own thing to creating eruptive meaning from a volunteer. But practice makes perfect. One hint: find talented people. Actors love the opportunity to be part of a dramatic project and that way you have someone with talent, skill and drive to help you learn and hone your own directorial skills.

Asher

[Philippe Paquet]

I like your lighting and composition. Very dramatic. I'm a sucker for that kind of pictures, so I would love to see a whole serie