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by Marcio Ferrari

photo.net Elves , Jan 19, 2004; 11:28 a.m.

Kudos to this amateur photographer who took advantage of long shadows to wait for the right shot. Is showing this upside down the best treatment of the result?

Photograph by Marcio Ferrari


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Marc G. , Jan 19, 2004; 12:29 p.m.


Well, congratulations on POW, Marcio. I can't say that this picture is original to me - except for the fact that the "real thing" and the shadow work well together -, because this has really been seen many times... but I still find it good aesthetically - except for the grain. I suppose that it may appear original to those who haven't seen bike and shadow shots, or perhaps the flip is what some people liked about it, but to me, flipped or unflipped are 2 sides of the same coin, and it takes a bit more than that to amuse me or generate an interest.

I would personally wish for more challenging POW selections, with solid technique and a real attempt at creating something. This, to me, is a good remake of a good old movie.

Marc G. , Jan 19, 2004; 12:38 p.m.

Note about "the grain"... It may just be the road's texture in fact, and not or not only film grain, but what I was trying to say no matter what, is that I'd suggest a very high-contrast print in order to get rid of most of this grain/texture. Regards.

Rich 815 , Jan 19, 2004; 01:18 p.m.

It's a neat shot, well-captured and presented, but does seem to be in the kitschy photo category often found in a typical Kodak How-to book.

Gary H Sp , Jan 19, 2004; 02:31 p.m.

Agree that a higher contrast treatment would work best. Would do it utilizing a gradient mask. Also suggest a crop from the right close to the (actual) biker so the composition is less static (and moving into the space).

as suggested...

.[. Z , Jan 19, 2004; 03:26 p.m.

A good, clever, fresh shot. Congratulations for going a bit back in the database (if only a year back) and not limiting POW choices to a certain type, or a certain subset of photo.net user.

Paul Muresan , Jan 19, 2004; 04:13 p.m.

Nice composition, good shot. Like the idea of turning the pic upside down.

Peggy Jones , Jan 19, 2004; 04:28 p.m.

Kodak-cliche or no, is well worth a week in the POW sunshine. maybe we could expand the discussion around this theme, perhaps with examples? it could provide a refreshing break from the tedium of looking at overworked- and-overtried, so-called edgy, moody, conflicted, but superficially absurd photos.

Rob Partridge , Jan 19, 2004; 04:30 p.m.

"Every time I see an adult on a bicycle, I no longer despair for the future of the human race."

Or so said HG Wells.

You all know that the idea behind the POW is to serve as a discussion about that image. It doesn't mean that the photo is better or worse than any other image. Just that it would prompt an interesting debate.

I have a love/hate reaction to the image. I like the long shadow, I like the grain and contrast, and even the crop, but I get annoyed because I can't stop wanting to turn my head upsidedown to see the other image. Like some sort of optical illusion or escher print. Yes it's cliched, yes it's been done before, so what!

Nice one Marcio. Where have your other photos gone though?


Collins V , Jan 19, 2004; 05:15 p.m.

positive POW discussions...

In contrast to some posts, I feel there have been good POW discussions since I started to take note 7-8 weeks ago:

2 weeks ago (Tibetan Horseman) it was interesting to see sparring between the landcape/tripod/velvia connoisseurs and the action/captured-moment crowd as they tried (unsuccessfully?) to find something in common to value in photography.

Last week, the discussion of the role of the subject's hands in the composition of the portrait - and how different viewers felt about "contrived" images - certainly helped me understand how others might view photos I take. and while I value both contrived and spontaneous shots, that POW discussion will likely affect some of my future picture-taking.

I think there is potential this week, especially since the photographer introduced himself as someone trying to learn more. I would offer that the shot could be better with more context. The shadow trick, together with the subject's hot-weather clothing and apparently well-used bike - all begin to tell a story of the life and personality of the city going by on the street below. By showing the subject in relation to other individuals or groups or just an empty street with references to scale, could the photograph suggest more of a story?

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