[Brownie]

Gotcha, thanks for the lesson.

[Brownie]

Here’s the thing though, I’m not really keen on the laws about this, but my understanding is that once an image is edited, it is a new piece with an entirely different protection. I could take any photograph off of the internet, make alterations, and the altered version is essentially mine, that’s my limited understanding of the law.

 

[Brownie]

“tight little bow of bullshit” made my day…

[Brownie]

They aren’t abuse comments that ebi made, people often confuse a critique of the work with a critique of the person and confuse a critique for only the positives.

I agree with everything ebi said.  They are overly contrasty without shadows, and artificially too sharp.

it’s a completely valid, honest observation.

And for someone studying photography, I would expect more understanding in the way of  basic technical skills.

[Brownie]

Thank you! and that’s a perfect mindset to have! People don’t understand what looks good, Hahaha.

[Brownie]

Doug is very cerebral in how he handles these images of his family, most (if not all) have been staged to some degree or some preconceived idea of the outcome because I’m almost 90% sure that he uses medium format, he’s never told me. I agree, his work is strongest as a set, as an unspoken narrative.  I think the only ties that Doug and Richard have is that they both photograph family but entirely different ways with entirely different visions, I adore both sets.

[Brownie]

I have Doug DuBois’s “…All The Days and Nights” on mine.

http://www.dougdubois.com/portfolio/family2/family2.html

Quite a fantastic body of work that has inspired me immensely.

[Brownie]

I concur. Thanks to nesgran for writing a very fair and honest critique.

[Brownie]

That’s the first thing I thought when I saw them. Surely a simple diffused fill flash could’ve been used.

But whatever, it definitely does make them seem more like the new family across the street instead of royalty.

[Brownie]

^^ I completely agree.

Too often I think people make pictures that are solely visual representations of the objects in front of the lens. snapshots are the prime example of that way of using a camera. Once a photographer begins to think critically and conceptually about their work is when you can really make some compelling photographs that move beyond just a picture of a sunset, flower, building etc. . Photographs can be fictional and are constructed by the lens and the photographer.

And I personally think in a few, you flirt with interesting subjects (llama, windy day fella) that are interesting but the photographs don’t stand as strong overall in comparison.

In ANY series of images you make, you could portray literally anywhere in the world as an Eden on earth, or you could portray it as the armpit of the world. It’s all how you choose to manipulate your story of this place.

[Brownie]

Always. Eliminating pre-conceived notions about your photographs is key in editing.

[Brownie]

Cheers! Thank you.

[Brownie]

You’ll have to forgive me bumping an old post but I had to comment.

I find most of your monochrome images to be quite strong and I can definitely see your influence from other mediums leaking in. You understand how light contours surface well and it shows in the successful photographs.  Your subjects are naturally expressive without the appearance of being posed or manipulated into positions they wouldn’t be in normally. These images have a pulse, the window lit one is alive and timeless. It’s a very strong image of a child, and I can’t think of a time where I have said that about someone’s work on here.

And I’m not sure I feel about the shadows, I feel like if they go much darker, it may ruin the delicateness of the images. You’ll have to experiment.

I find the color work to be predictable and pose-y. Just visual identification of the child. I think they have a bit too much contrast. They are definitely bright images, I find myself squinting a bit when I look at them.

although, this image: http://www.flickr.com/photos/lceymil/8580192065/, grossed me out the first time I saw it, and I like that about it. It connected with me. Now, I’m thinking about the pain of the teeth, how red those gums are and how uncomfortable this child looks. I think it transfers pretty convincingly.

Continue to push it. Consider ways to make more images that transcend just your child and can be translated to all children, childhood, things like that…

 

[Brownie]

I do agree, It’s an easy way to add interest to an otherwise uninteresting photograph.

[Brownie]

I know, right? That’s a red flag for me that the photographer has no sense about their work. I typically try to forget about the images that I’ve made and come back to them in a few days so I can analyze them as is without personal emotion complicating my decision-making.

[Author]

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