Gilbo
Storage is cool
This month's Nikon Legend's behind the lens photographer has some absolutely terrific photos.
I find this one especially attractive:
The composition is superbly chosen. It's absolutely incredibly well done in my opinion. Not to mention that he has captured a strongly evocative moment. The lean of the two individuals against the backdrop of the arching sand dune really adds a sense of momentum to the photograph which the opposing bend of the tree emphasizes well. The grass they're working through also contrasts with the mass of the dune in a way that really imposes the tenaciousness of their struggle on the photograph. I can't really say enough about this shot. I think it is one of the very best I have ever seen in my life. It speaks to me remarkably strongly.
This one's great too:
It's also masterfully composed, but this is a picture who's content really stands for itself. What's the old photographer's answer to "How did you get that incredible photo?": "I was there..."
The contrast between the tension in the soldiers and the boy is not only strongly emphasized in their respective stances --especially the boy's stance--, but in the fact that the soldiers and him are orienting their attention in entirely different directions. Whenever you have human subjects orienting their attention in different directions it creates a strong rift in the photo. In this case the rift is tremendously evocative, because of the context we all will bring to this photo. It makes it especially compelling. Imagine how weak it would be, comparatively, if the soldiers were simply looking at the boy.
As for the composition, while the content stands on its own, the choice to orient the camera downwards has some excellent effects. It emphasizes the small size of the boy, especially in contrast to the soldier's dominate foreground position which enlarges him (the decision to include the backpack was superb and one I think many other photographers, certainly myself, would have missed --it adds a dramatic sense of mass to the soldier). The best thing about the downward orientation of the camera is that it more strongly draws the eye, very naturally, into and then through the image, from the soldier in the foreground, down his gun barrel, into the street and then across to the boy. The boy's gaze returns the viewer to the soldier, completing a natural tour of the essential elements of the photograph. In fact I think it's easy to underestimate the role the composition of this photograph plays in making it attractive exactly because the composition emphasizes the important elements so naturally. An outstanding photo.
"This is life, man. Things happen around the world that we have no idea about. That's why I do this—to discover these things and then tell them." He's certainly accomplished what he wanted to do in my opinion.
Take a look and enjoy. The link's at the beginning of the post if you missed it.
I find this one especially attractive:
The composition is superbly chosen. It's absolutely incredibly well done in my opinion. Not to mention that he has captured a strongly evocative moment. The lean of the two individuals against the backdrop of the arching sand dune really adds a sense of momentum to the photograph which the opposing bend of the tree emphasizes well. The grass they're working through also contrasts with the mass of the dune in a way that really imposes the tenaciousness of their struggle on the photograph. I can't really say enough about this shot. I think it is one of the very best I have ever seen in my life. It speaks to me remarkably strongly.
This one's great too:
It's also masterfully composed, but this is a picture who's content really stands for itself. What's the old photographer's answer to "How did you get that incredible photo?": "I was there..."
The contrast between the tension in the soldiers and the boy is not only strongly emphasized in their respective stances --especially the boy's stance--, but in the fact that the soldiers and him are orienting their attention in entirely different directions. Whenever you have human subjects orienting their attention in different directions it creates a strong rift in the photo. In this case the rift is tremendously evocative, because of the context we all will bring to this photo. It makes it especially compelling. Imagine how weak it would be, comparatively, if the soldiers were simply looking at the boy.
As for the composition, while the content stands on its own, the choice to orient the camera downwards has some excellent effects. It emphasizes the small size of the boy, especially in contrast to the soldier's dominate foreground position which enlarges him (the decision to include the backpack was superb and one I think many other photographers, certainly myself, would have missed --it adds a dramatic sense of mass to the soldier). The best thing about the downward orientation of the camera is that it more strongly draws the eye, very naturally, into and then through the image, from the soldier in the foreground, down his gun barrel, into the street and then across to the boy. The boy's gaze returns the viewer to the soldier, completing a natural tour of the essential elements of the photograph. In fact I think it's easy to underestimate the role the composition of this photograph plays in making it attractive exactly because the composition emphasizes the important elements so naturally. An outstanding photo.
"This is life, man. Things happen around the world that we have no idea about. That's why I do this—to discover these things and then tell them." He's certainly accomplished what he wanted to do in my opinion.
Take a look and enjoy. The link's at the beginning of the post if you missed it.
