Problems

[sleist]

Yes.

 

[TreeofLifeStairs]

so, here are my thoughts, after re-thinking this work. With the pole being the subject, but also the power of eyelines, the two people staring at each other creat a line, that goes to the on-off switch of the pole. That's a triangle. Boom, composition.

Next, the shared tonality of the overhang and the pole indicate frame within the frame. Boom, composition.

The miller lite sign, compared with the bar fence the people are behind are used to suggest the idea of alcoholism keeping people "behind bars." Boom, visual metaphor.

The bushes create a frame for the subject of the light pole. Boom, composition.

The light pole seems to be looming at the people, it's watching this show that the players are performing. The light pole is both the audience and the subject. The light pole is us. The light pole isn't completely in view because we cannot completely see ourselves as we are. Boom, visual narrative.

The on-off switch on the light pole represents the nagging temptation of suicide, that we could all turn it off if we dared. Boom narrative. Boom, visual metaphor.

In front of the woman we see a wooden box inside a wooden box. Further echoing the picture within a picture, viewer within the viewed. Boom, visual echo.

The car to the left separated by the light pole from the people represents the inability to escape, despite the means being just out of our reach. Boom, visual narrative.

The doorway and the car being the same tonality, the only things that are pure white, indicate the two, pure, extreme choices the players have. Escape and complete entry. Yet they remained trapped in limbo, on the porch, in the light pole's gaze, under the glow of chemical escape (miller light sign). Boom, visual narrative.

The road between the pole and the players represents the distance we feel between the world and our isolation with all of humanity. The necessary distance between the onlooker and the looked upon. The idea that viewing is separation. Boom, visual narrative. Boom, visual metaphor.

The seeming technical shortcomings of the photo, the lack of focus, the hard lighting, the distance between the people, they're ultimately all a part of the story. They exude isolation, confusion, emptiness and a feeling of being trapped, even in the seemingly open space. When I view this image, I can feel the desperation of humanity. I understand the light pole because the light pole is me. I also fail to understand the light pole because the light pole is me and we can ultimately never truly understand ourselves.

A completely intelligible treatment of the subject matter, to use the OP's phraseology, wouldn't be appropriate to photograph. He needed to challenge our conventions in order to show us our station.

I can't tell if you're serious or being sarcastic.

 

[Designer]

I can't tell if you're serious or being sarcastic.

Yes.

 

[pgriz]

The people are the subject but i can't get up close enough to them to photograph them, so I do something else.

Were you being physically restrained from approaching closer? Or did you just not walk closer because you didn't want them to notice that you were photographing them? If the latter, then perhaps going over to them, and telling them that you're photoraphing the restaurant for its lines... and would they mind if you included them in the photo, is a relatively simple thing to do.

Pretty much all your photos of people have them showing very small in the images you take. And yet, it's the up-close images that reveal a person and allow us (the viewers) to connect with the subject. There are lots of people who do street photos with people in them posting on this site, and most show the people reasonably close up doing stuff, without the subjects reacting in a hostile manner to the photographer. Maybe that's something you have to work on, learning how to be approachable so that people don't see your actions as suspicious or hostile.

 

[Sicboi]

And how about her?

 

[pgriz]

Well, photographing a makeup ad isn't exactly "getting close to people". As an image, it doesn't communicate very much. Perhaps if you photographed a person looking at the ad and getting a contrast between a "real" person and the "idealized" makeup ad image, one could see some kind of message or comment.

The thing about your photography, is that whatever message you want to share with your viewers isn't getting through. The usual methods of conveying the message include reducing the foreground/background clutter, simplifying the image, choosing a perspective and framing that guides the viewer to the subject, creates some kind of visual link or clue that allows the viewer to interpret what they are seeing in your image, and in general require YOU to think about what YOU want US to see, and then setting up the image so that we recognize the point of the image.

The fact that you find some aspect interesting (within the image), but you leave all the visual clutter for us to see and figure out what part of that was interesting to you, is just too much work for the casual viewer.

 

[fjrabon]

so, here are my thoughts, after re-thinking this work. With the pole being the subject, but also the power of eyelines, the two people staring at each other creat a line, that goes to the on-off switch of the pole. That's a triangle. Boom, composition.

Next, the shared tonality of the overhang and the pole indicate frame within the frame. Boom, composition.

The miller lite sign, compared with the bar fence the people are behind are used to suggest the idea of alcoholism keeping people "behind bars." Boom, visual metaphor.

The bushes create a frame for the subject of the light pole. Boom, composition.

The light pole seems to be looming at the people, it's watching this show that the players are performing. The light pole is both the audience and the subject. The light pole is us. The light pole isn't completely in view because we cannot completely see ourselves as we are. Boom, visual narrative.

The on-off switch on the light pole represents the nagging temptation of suicide, that we could all turn it off if we dared. Boom narrative. Boom, visual metaphor.

In front of the woman we see a wooden box inside a wooden box. Further echoing the picture within a picture, viewer within the viewed. Boom, visual echo.

The car to the left separated by the light pole from the people represents the inability to escape, despite the means being just out of our reach. Boom, visual narrative.

The doorway and the car being the same tonality, the only things that are pure white, indicate the two, pure, extreme choices the players have. Escape and complete entry. Yet they remained trapped in limbo, on the porch, in the light pole's gaze, under the glow of chemical escape (miller light sign). Boom, visual narrative.

The road between the pole and the players represents the distance we feel between the world and our isolation with all of humanity. The necessary distance between the onlooker and the looked upon. The idea that viewing is separation. Boom, visual narrative. Boom, visual metaphor.

The seeming technical shortcomings of the photo, the lack of focus, the hard lighting, the distance between the people, they're ultimately all a part of the story. They exude isolation, confusion, emptiness and a feeling of being trapped, even in the seemingly open space. When I view this image, I can feel the desperation of humanity. I understand the light pole because the light pole is me. I also fail to understand the light pole because the light pole is me and we can ultimately never truly understand ourselves.

A completely intelligible treatment of the subject matter, to use the OP's phraseology, wouldn't be appropriate to photograph. He needed to challenge our conventions in order to show us our station.

I can't tell if you're serious or being sarcastic.

The man who journeys life upon the wings of sarcasm and irony must one day consider "has it become real, what is the real?"

 

[sandollars]

Well, Keep at it. Beauty and art are in the eye of the beholder. No one can take that from you!

 

[tecboy]

View attachment 97488
And how about her?

Is she Katy Perry?

 

[Sicboi]

Yes, she is Katy Perry. They come to the `store to take the picture! Sort of.

 

[Derrel]

so, here are my thoughts, after re-thinking this work. With the pole being the subject, but also the power of eyelines, the two people staring at each other creat a line, that goes to the on-off switch of the pole. That's a triangle. Boom, composition.

Next, the shared tonality of the overhang and the pole indicate frame within the frame. Boom, composition.

The miller lite sign, compared with the bar fence the people are behind are used to suggest the idea of alcoholism keeping people "behind bars." Boom, visual metaphor.

The bushes create a frame for the subject of the light pole. Boom, composition.

The light pole seems to be looming at the people, it's watching this show that the players are performing. The light pole is both the audience and the subject. The light pole is us. The light pole isn't completely in view because we cannot completely see ourselves as we are. Boom, visual narrative.

The on-off switch on the light pole represents the nagging temptation of suicide, that we could all turn it off if we dared. Boom narrative. Boom, visual metaphor.

In front of the woman we see a wooden box inside a wooden box. Further echoing the picture within a picture, viewer within the viewed. Boom, visual echo.

The car to the left separated by the light pole from the people represents the inability to escape, despite the means being just out of our reach. Boom, visual narrative.

The doorway and the car being the same tonality, the only things that are pure white, indicate the two, pure, extreme choices the players have. Escape and complete entry. Yet they remained trapped in limbo, on the porch, in the light pole's gaze, under the glow of chemical escape (miller light sign). Boom, visual narrative.

The road between the pole and the players represents the distance we feel between the world and our isolation with all of humanity. The necessary distance between the onlooker and the looked upon. The idea that viewing is separation. Boom, visual narrative. Boom, visual metaphor.

The seeming technical shortcomings of the photo, the lack of focus, the hard lighting, the distance between the people, they're ultimately all a part of the story. They exude isolation, confusion, emptiness and a feeling of being trapped, even in the seemingly open space. When I view this image, I can feel the desperation of humanity. I understand the light pole because the light pole is me. I also fail to understand the light pole because the light pole is me and we can ultimately never truly understand ourselves.

A completely intelligible treatment of the subject matter, to use the OP's phraseology, wouldn't be appropriate to photograph. He needed to challenge our conventions in order to show us our station.

I am struck most strongly by the Miller Lite versus Budweiser neon sign duel. And speaking of that danged Miller Lite sign...I'm 50+ years old...I have NEVER ONCE, as in n_e_v_e_r o_n_c_e heard a person order a Miller Lite beer. It's as if the brewing company gave a free Miller Lite sign to every single liquor license holder in North America, and then sent out field reps to make sure the signs would be hung prominently...

 

[fjrabon]

Love the statement on cookie cutter, disposable beauty for sale that we can thoughtlessly discard at our leisure. The Walgreens hand carts stacked in repetition with the one oddball in between is a brilliant compositional tool. Repetition and stop that adds to the visual narrative. The plastic bag and trash can in the top right are nice visual metaphors for the disposable plastic beauty we are polluting our world with, both literally and metaphorically

 

[qleak]

so, here are my thoughts, after re-thinking this work. With the pole being the subject, but also the power of eyelines, the two people staring at each other creat a line, that goes to the on-off switch of the pole. That's a triangle. Boom, composition.

Next, the shared tonality of the overhang and the pole indicate frame within the frame. Boom, composition.

The miller lite sign, compared with the bar fence the people are behind are used to suggest the idea of alcoholism keeping people "behind bars." Boom, visual metaphor.

The bushes create a frame for the subject of the light pole. Boom, composition.

The light pole seems to be looming at the people, it's watching this show that the players are performing. The light pole is both the audience and the subject. The light pole is us. The light pole isn't completely in view because we cannot completely see ourselves as we are. Boom, visual narrative.

The on-off switch on the light pole represents the nagging temptation of suicide, that we could all turn it off if we dared. Boom narrative. Boom, visual metaphor.

In front of the woman we see a wooden box inside a wooden box. Further echoing the picture within a picture, viewer within the viewed. Boom, visual echo.

The car to the left separated by the light pole from the people represents the inability to escape, despite the means being just out of our reach. Boom, visual narrative.

The doorway and the car being the same tonality, the only things that are pure white, indicate the two, pure, extreme choices the players have. Escape and complete entry. Yet they remained trapped in limbo, on the porch, in the light pole's gaze, under the glow of chemical escape (miller light sign). Boom, visual narrative.

The road between the pole and the players represents the distance we feel between the world and our isolation with all of humanity. The necessary distance between the onlooker and the looked upon. The idea that viewing is separation. Boom, visual narrative. Boom, visual metaphor.

The seeming technical shortcomings of the photo, the lack of focus, the hard lighting, the distance between the people, they're ultimately all a part of the story. They exude isolation, confusion, emptiness and a feeling of being trapped, even in the seemingly open space. When I view this image, I can feel the desperation of humanity. I understand the light pole because the light pole is me. I also fail to understand the light pole because the light pole is me and we can ultimately never truly understand ourselves.

A completely intelligible treatment of the subject matter, to use the OP's phraseology, wouldn't be appropriate to photograph. He needed to challenge our conventions in order to show us our station.

I am struck most strongly by the Miller Lite versus Budweiser neon sign duel. And speaking of that danged Miller Lite sign...I'm 50+ years old...I have NEVER ONCE, as in n_e_v_e_r o_n_c_e heard a person order a Miller Lite beer. It's as if the brewing company gave a free Miller Lite sign to every single liquor license holder in North America, and then sent out field reps to make sure the signs would be hung prominently...

hmm in my neck of the woods miller lite is quite popular. It was the beer of choice of my drinking team with a pool problem

 

[tecboy]

Yes, she is Katy Perry. They come to the `store to take the picture! Sort of.

So... You are still shooting your hp p&s camera?

 

[otherprof]

These people are just like the rest of them. They think they have it made. Good subjects just because. These people are not regulars, but this place is popular to people flocking here putting on a show. I found it appropriate to photograph it.View attachment 97452

What was the opening act?