With pounding, I definitely wasn't going for the soft tourist shot I usually
peddle. It's enjoying to take a somewhat cliched icon such as Pemaquid Light
and try to get jiggy with it. I've got some others that haven't made it up yet
that make the place look like the setting for a Stephen King novel.
You got it exactly right on Coot Club. I had a bunch of boring photos of my
cousin in her new 12.5, and, as Nathan so succinctly put it in his artist
statement, black and white was the only way to save them. It was only one more
step to go for the aged effect. The print isn't as contrasty as the web view.
I've been reworking all my web photos to try to give them a better
presentation. Only a few have actually made it up to the site. The home page
photo is one. Pounding is another.
Vintage is actually a pinhole preset with some adjustments on my part. I guess
different kinds of things appeal to different kinds of people. Had a guy in the
gallery yesterday who saw an 11x14 of that and went nuts. He wanted it bigger,
but I told him it wouldn't hold up as an enlargement. He managed to get past
his disappointment by buying two framed prints off the wall. I was hoping he'd
take the 11x14, too, but he said he had some blank spaces on his wall and he
was hell-bent to fill them. I did not argue. <wink>
Thanks for looking, and commenting. It's always good to hear the full range.
It's not going to stop me from diving overboard from time to time, but it's
good to hear. <g>
--Bob
On Sep 10, 2011, at 5:16 PM, Chuck Norcutt wrote:
> I don't think I've ever disliked any of your work... until today.
> Sorry, but "Pounding Pemaquid" is overworked HDR done in B&W. "Vintage
> Pemaquid", well, I don't think any vintage media ever had that much
> grain. But the dog, "Bridge to Nowhere" and "Fog Rolls In" are great.
> "Coot Club" I can take or leave but if you were trying to capture a 1955
> camera shop too-contrasty B&W print you did it. I like "Day's End" but
> it too is slightly overcooked for my taste.
--
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