tom_f77
Tom Fenwick
Many members here have kindly looked at and commented on my work over the years. I rarely post in the gallery here anymore due to the equipment I'm using, but would be very appreciative if any of you can take the time to share your thoughts on what I'm doing at the moment.
This is the beginning of a project, not the end; what doesn't work and what is missing is as interesting and helpful to me as what works for you and what you like.
The link is in my signature below.
Thanks,
Tom
This is the beginning of a project, not the end; what doesn't work and what is missing is as interesting and helpful to me as what works for you and what you like.
The link is in my signature below.
Thanks,
Tom
Last edited:
Ranchu
Veteran
I really like your eyeball, this is my kind of thing. My favorites are 8, 14, 19, 20, 21, 22, 26, and 27. Especially 14 and 21. I'm not so fond of 1, 2, 5, 9, 11, 12, 13, 23, 25, and 28. I'm not so good at critique, but this is good work! There is a tension in them that I really appreciate. I've bookmarked your page, thank you much for showing them.
edit, fixed the numbers. 28 instead of 26.
edit, fixed the numbers. 28 instead of 26.
Last edited:
Chris101
summicronia
Here's what I see: Many of the photos juxtapose popular or commercial cultural icons against an older or natural setting. This difference between elements gives a tension and interest to the individual images AND to the overall series. Some, maybe 20-25%, of the images do not fit into this pattern. The percentage that do not increase toward the end of the series, suggesting editing fatigue?
Technically the photography is very well done - the images are sharp, the colors bright and natural looking. The angles and composition are attention grabbing.
I feel that you need to tighten up your statement here a bit more. As it is, the viewer is left is a somewhat diffused state, and the overall impact is therefore lessened than if each image drove the point further home.
Technically the photography is very well done - the images are sharp, the colors bright and natural looking. The angles and composition are attention grabbing.
I feel that you need to tighten up your statement here a bit more. As it is, the viewer is left is a somewhat diffused state, and the overall impact is therefore lessened than if each image drove the point further home.
Spyro
Well-known
Ι like it but I think it needs volume and a tighter edit, and most of the verticals are not easy to make work for that type of thing you're doing. I also think you should work more on composition to highlight the battle between human structure and nature.
To explain better what I mean have a look at Hin Chua's "after the fall" which I think is not far, conceptually and visually, from what you're doing. Read his foreword to see what his work is about, I know he's been working on it for a few years. Like I said, it needs volume.
http://www.hinius.net/after_the_fall_statement.html
and video
http://vimeo.com/7881194
To explain better what I mean have a look at Hin Chua's "after the fall" which I think is not far, conceptually and visually, from what you're doing. Read his foreword to see what his work is about, I know he's been working on it for a few years. Like I said, it needs volume.
http://www.hinius.net/after_the_fall_statement.html
and video
http://vimeo.com/7881194
Nettar
Member
I like your photography, Tom. However, I wonder whether you could consider using a longer lens for this type of work. Using the current lens, which is apparently a little wide, I have the feeling that as a viewer I am included in the composition, and I find that distracting. It makes me less able to assess what I see. On the other hand, if the lens were longer then I would feel more distant from from the subjects, and that would make it easier for me to have a more considered opinion. To me, the perspective of a longer lens is one of the advantages of Hin Chua's work, to which Spyro wisely drew our attention.
Of course, in many other types of photography the "inclusive" feel of a wide lens is essential to the impact; but not here, I think. Nettar
Of course, in many other types of photography the "inclusive" feel of a wide lens is essential to the impact; but not here, I think. Nettar
Chris101
summicronia
Hin's After the Fall series is exemplary! Hopefully the OP will be able to distinguish his work from Hin's on a thematic, or better yet, vision level. Otherwise, he will become known as Europe's Hin Chua. There are differences in the vision of the OP and Chua that might be exploited. Particularly the inclusion of a 'person on the ground, wondering about an overly obviously sign' kind of photo. This seems to be far off in Chua's work, but because of the use of a wide angle lens in complex situations, close up and personal in Tom's work. Look at the 'spiderman in the pool' shot in particular. This one sticks with me.
tom_f77
Tom Fenwick
Thanks for your thoughts and suggestions so far. Very interesting and helpful.
The link to Hin Chua's work, of which I was not aware.
His foreword is very interesting. Indeed we are conceptually and visually quite close (although to have this recognised by someone else makes me feel somewhat honored!).
He talks about the battle between the environment and the edges of our urbanised world. I think overall my interest is really in the battle between what we think we are or where we're going, and what or where we really are.
This is at least partly why I like to use the 35mm lens nearly all my work. I do try longer and wider things often, but I tend to like the images that offer the viewer the chance to stand where I stood and look at what I chose to show them.
So between you you have come very close to seeing what I'm up to, and why; I like this as well.
And I definitely agree about tightening the edit. These photos probably belong in about three different collections; I was interested in some new ideas and included some fairly disparate images to see if I elicited any commentary that might help me work them out.
Mission accomplished, but if anyone has any further thoughts...
Many thanks again,
Tom
The link to Hin Chua's work, of which I was not aware.
His foreword is very interesting. Indeed we are conceptually and visually quite close (although to have this recognised by someone else makes me feel somewhat honored!).
He talks about the battle between the environment and the edges of our urbanised world. I think overall my interest is really in the battle between what we think we are or where we're going, and what or where we really are.
This is at least partly why I like to use the 35mm lens nearly all my work. I do try longer and wider things often, but I tend to like the images that offer the viewer the chance to stand where I stood and look at what I chose to show them.
So between you you have come very close to seeing what I'm up to, and why; I like this as well.
And I definitely agree about tightening the edit. These photos probably belong in about three different collections; I was interested in some new ideas and included some fairly disparate images to see if I elicited any commentary that might help me work them out.
Mission accomplished, but if anyone has any further thoughts...
Many thanks again,
Tom
robert blu
quiet photographer
Interesting starting point, some images are strong (Westminster, York, Krushevo as example) because of compositiond which enhance the contrapposition in the subject. But other are weaker (Farnley Wood, Buttermere) and therefore less strong hitting. Of course just my opinion which couyld be wrong. Unfortunately I'm going out and have not enough time for a deeper look and comment, I'll go back later.
robert
robert