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Salzburg, Austria

"No place is boring if you've had a good night's sleep and a pocket full of film." - Robert Adams
​
"Tea first, then photography..." - Philip Lee Harvey

From an Article written by Philip Lee Harvey

The Power of an Image

10/22/2017

0 Comments

 
Picture
These images were shown on a CNN report on color images from WWII.  You can see the article HERE. We are all very used to seeing images of WWII in black and white which somehow separates us from what is happening in the image. As soon as we see a color image, we immediately associate it with our own time. That brings the images into our daily lives.
Picture
The image above was shot after the liberation of the Netherlands, and you can see all the nationalist sentiment reflected in the orange scarves and hats. But the image might have come from a reenactment as the color of the image brings it closer to our own lives. You can picture yourself walking through that very crowd of people. Aside from the clothes and hair nothing would seem out of place.
Picture
The image above is amazingly powerful.  We see Eisenhower with the leaders of the D-Day Invasion that took allied forces on the first true offensive in the European theater. But we see that as if they were there today. The detail in the shadows, the cabling on the lights on the ceiling, the grey metal chairs they are sitting on and the rough wooden tables used. Event he blue velvet coverings of the table top is clearly seen. 

It is powerful because we understand the context, it is powerful because of the consequences but it is also powerful because it is taking us to that moment sixty or so years ago. The historical nature gives these photographs strength.

Below is an image I took earlier this year visiting a room very similar to the one shot above. The velvet color is the same, the ashtrays are the same, and the lights above are the same. One was taking sixty years ago while the other was just a few months.  Powerful because the color brings it to life for us.
Picture
Images however do not have to have historical context to be powerful. They can capture family, friends or a moment of emotion that we can relate to. These are powerful images. Gone are the discussion of the composition, lighting and the like. The subject trumps all other discussion, no one notices the noise, shadows or imperfections. The image stands alone due to the subject.
Picture
To the left we see a pilot with his dog. We know the plane in the background is a Spitfire and realize it is a historical image. But what is powerful about this image is the bond between the dog and man. Even in a time of war the bond between these two continues.

The gesture captured of the dog leaping up to say hello with the Spitfire sitting int he background is obviously staged but the image still carries its message to us.

It is powerful because we can relate. We have all had pets and understand that bond. We see it in this image and it makes the image powerful.
To the right is an image I shot a few months ago near Dover. You can see the Spitfire and the wonderful Dover Castle in the background. The image is one of a nice vacation, fun with friends and family. Compositionally the image is ok, the colors are realistic and the crop is ok. The image is nice, but it will never be powerful. 

The gesture of the dog and his owner are the key symbols in the image. If the symbol resonates with you the image will immediately be powerful to you.
Picture
Picture
Here a US Mustang plane with the kill marks on her fuselage, again brings the historic moment of the image into sharp relief.  Here there is no gesture, no monuments decision being made. Here we see an escort aircraft doings its duty just as we have seen in thousands of black & white images. But this time the kill marks are in color. The deep red and black lines of the Nazi flag.
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    Patrick...confirmed film & digital photography addict.

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Photos used under Creative Commons from left-hand, Ant Jackson, Skley, mikecogh, Helen.Yang, TheeErin, Dean Hochman, CJS*64, DaveR1988, FootMassagez, Loco Steve, dmytrok, Christiaan Colen
  • Home
  • About
  • Blog
  • Vintage Cameras
    • Argus 75
    • Brownie Flash II
    • Contax G2
    • Ensign Selfix 820
    • FED-1 (PE0320)
    • Graflex Crown Graphic
    • Ihagee Exa
    • Leica M6
    • Nikon S2
    • Nikon F
    • Nikon F2
    • Nikon F3
    • Nikon FA
    • Olympus OM-1
    • Olympus OM-2 SPOT
    • Olympus Stylus
    • Pentacon Six
    • Pentax Spotmatic IIa
    • Rollei 35
    • Voigtlander 15mm ver III
    • Yashica C
    • Zeiss Ikon Nettar 515/2
  • Learning Composition
    • The Monochrome Diaries
    • Single & Multi Elements
    • Symmetry
    • Keep the Right Strong
    • Framing
    • Color in Composition
    • Deep Dive Bubble Man
    • Photo Assignments
  • Darkroom Lessons
    • Building a Sink
    • Air Ventilation
    • Analyser Pro
    • Development Hints
    • Primer for Film Photography
    • Bulk Loading Film
    • Pushing & Pulling Film
    • Color Development
    • Digital Contact Sheets
    • Stick to One Film Stock?
    • HP5+ Shot at 200 ISO
    • HP5 Shot at 1600 ISO
    • HP5 Shot at 3200 ISO
    • Medium Format
    • Washing Film
    • Split Grade Printing
    • Using Distilled Water in Film Development
    • Darkroom Paper
    • Foma100 EI 400
  • Photography Books & Films
    • Colin O'Brien
    • Lartigue Life in Color
    • Magnum Contact Sheets
    • Top Photography Movies
    • William Eggleston's Guide
    • Helen Levitt
    • Sally Mann Immediate Family
    • Saul Leiter Early B&W
    • Leica 100 yrs
    • Calendar Days of Asaya Hamaya
    • The Decisive Moment
    • Regarding Women
    • Robert Capa in Love and War
  • Single Image Deep Dive
    • Sergio Larrain "A Man After Dark"
    • Colin O'Brien 'Comings & Goings"
    • Erwitt Mother & Child
    • Man Running
    • Samuel Becket
    • Koudelka Wristwatch
    • Dovima with Elephants