Safety, Iron, and Steel
- Thread starter jbf
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jbf
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jbf
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(comments are welcome)
Debusti Paolo
Well-known
well done! great job! which lens,camera,film? hoe was shutter's speed?
PaulRicciardi
Established
Any reason for the plethora of cut off heads? Was this a stylistic choice or something you did because the subjects didn't want their faces shown? For the most part it's done well, but in some of the shots it bothers me and comes across as sloppy framing, and the fact that it's repeated throughout the series almost makes it appear like a "gimmick." Cool the first few times, but gets old after that.
I don't mind the cut off heads in the following shots-the man backlit by the ceiling light, the two men talking to each other (one with a cigarette), and the man with "RM" on his glove. The other cut off head shots make me wonder why you did it. I feel they could have been stronger if shot "normally."
On the flip side, the sense of light and shadow here is really nice, you've got some great tones in these images and they're definitely full of texture. They stand together well as a series and I would be quite happy with them if I was you. The second shot in your second set of photos is classically beautiful and has a really nice sense of visual depth to it.
Overall an interesting series and a well conceived compact photo essay.
Nice job
I don't mind the cut off heads in the following shots-the man backlit by the ceiling light, the two men talking to each other (one with a cigarette), and the man with "RM" on his glove. The other cut off head shots make me wonder why you did it. I feel they could have been stronger if shot "normally."
On the flip side, the sense of light and shadow here is really nice, you've got some great tones in these images and they're definitely full of texture. They stand together well as a series and I would be quite happy with them if I was you. The second shot in your second set of photos is classically beautiful and has a really nice sense of visual depth to it.
Overall an interesting series and a well conceived compact photo essay.
Nice job
jplomley
Established
Yep, if this is scanned film, I'd sure like to see some specs.
feenej
Well-known
Very nice. I like the style of the whole thing. I know a guy who repairs room-size CNC machines. I wish he'd let me in to do a photo shoot of him like this.
blackwave
silver halide lover
It's a solid series that achieves, IMO, what a series like this should.. a sense of the environment. I have to disagree with a previous poster who said the style of shooting cut off heads felt gimmicky. I think it gives a feeling of anonymity, where the people's presence contributes to the overall atmosphere instead of being the total focus.
Of course, I may look at photos a little differently than some. I like to remove my technical eye and let the photos speak for themselves. Do they make me feel the place, the people, the emotion? Sometimes technical aspects prevent those things from shining through. The technical norms were slightly skewed in these and I think they're better for it.
Of course, I may look at photos a little differently than some. I like to remove my technical eye and let the photos speak for themselves. Do they make me feel the place, the people, the emotion? Sometimes technical aspects prevent those things from shining through. The technical norms were slightly skewed in these and I think they're better for it.
jbf
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The cut off heads is intentional. I know its strange, but, for whatever reason i felt it 'spoke' most to me this way. Its still an evolving project. Obviously it needs a small artist statement to explain some of the connotations and meanings behind some of the imagery, as I picked them because they represent metaphorical terms of southern society in the u.s. and the railroad industry in general I think.
Believe it or not, it is digital. Though I definately was going for a film look. Was shot with a combination of my Canon 5D and Epson RD-1.
I have a lot of film from my Leica M that I have yet to scan yet... so all of this will evolve as I scan and go through more and more of it.
I think the biggest thing right now is I need to edit it down more to 15-20 or so. Too many images as it stands right now I think.
In any case, thank you for bringing up the heads though. It is always interesting to see what others think and how they react to it. Everyone's going to be different and have different ideas and feelings, but that is something I'm actually very happy about.
Believe it or not, it is digital. Though I definately was going for a film look. Was shot with a combination of my Canon 5D and Epson RD-1.
I have a lot of film from my Leica M that I have yet to scan yet... so all of this will evolve as I scan and go through more and more of it.
I think the biggest thing right now is I need to edit it down more to 15-20 or so. Too many images as it stands right now I think.
In any case, thank you for bringing up the heads though. It is always interesting to see what others think and how they react to it. Everyone's going to be different and have different ideas and feelings, but that is something I'm actually very happy about.
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emraphoto
Veteran
it's very good work jbf. the post is excellent, the framing is cool and overall the project is well executed. you should be proud!
Tom A
RFF Sponsor
Good series of shots. reminds me of Salgado's "Les Cheminots" - a book he did for the french rail workers union in the 90's.
I too was wondering about the cut off heads. In some shots it is fine, but there are shots were you want the look of concentration.
Could be a good basis for a exhibition or essay on the work and workers. Maybe even a "Blurb" book.
I too was wondering about the cut off heads. In some shots it is fine, but there are shots were you want the look of concentration.
Could be a good basis for a exhibition or essay on the work and workers. Maybe even a "Blurb" book.
jbf
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Vince Lupo
Whatever
Nice work. Any possibility of going back and doing some portraits of the workers? Tom had mentioned Salgado's work, and one of the nice things that he does is that he combines the fragments as you've done, with the big picture, then connects with the faces (check out Eugene Richards as well). The cut off heads are okay, but after awhile you long to have a nice closeup of a face....like you're entering into some kind of relationship with them (both me as a viewer and you as a photographer).
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blackwave
silver halide lover
I was reminded of Salgado, too, in the style department anyway.
Regarding the heads again, I think if it were only the heads that would be one thing, but you also have some with turned backs and faces masked by the shadows. It reinforces the anonymity concept. I like it. Most importantly, if you feel you nailed what you were trying to say with it, then be happy for that!
Regarding the heads again, I think if it were only the heads that would be one thing, but you also have some with turned backs and faces masked by the shadows. It reinforces the anonymity concept. I like it. Most importantly, if you feel you nailed what you were trying to say with it, then be happy for that!
Vince Lupo
Whatever
Might be an idea to look at it as an assignment that a magazine gave you (is this a self-directed project?), and perhaps you could in fact sell it to a magazine. I'd think (though I'm not the editor of a magazine) that they'd probably want to see some faces, portraits, even identifying who these people are. Just a thought...
BTW, if this was not shot with a Leica M, why is it in this section of the forum? Just curious....
BTW, if this was not shot with a Leica M, why is it in this section of the forum? Just curious....
jbf
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While these sets of images are not shot with a Leica, there are others that are (and are soon to be posted)... but more importantly, this forum gets a wide number of traffic and the images are photographed in a manner associated with leica, so really... does it matter all that much? 🙂
I have taken portraits of the workers, and am still currently working on the project, so its very much still a work in progress.
I have taken portraits of the workers, and am still currently working on the project, so its very much still a work in progress.
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monochrome_joy
Analog Enlightenment
Excellent work, I mean that. I rarely post on work unless I either A) feel like adding some positive critique, or B) genuinely really like the work.
Great job adding a sense of environment, action and emotion. I don't care what it was shot with, film/digital, Leica/Canon, they all capture light according the the settings you gave it.
The series could be cut down to only the strong images. I was also told that you should try to keep similar images from being in galleries together, one or the other. Either way, you show great work. Keep it up. I'm always happier to see great photos than yet another comparison/which should I buy post. Thank you!
Great job adding a sense of environment, action and emotion. I don't care what it was shot with, film/digital, Leica/Canon, they all capture light according the the settings you gave it.
The series could be cut down to only the strong images. I was also told that you should try to keep similar images from being in galleries together, one or the other. Either way, you show great work. Keep it up. I'm always happier to see great photos than yet another comparison/which should I buy post. Thank you!
amateriat
We're all light!
Really good stuff, and holds up beautifully as a body of work. I could see this as a book, big-time. Composition in most all of them work well to my eye.
I noticed the CSX logo in a hard hat in one image. How'd you approach the railroad in photographing the series? I only ask because I've done this in the distant past with one or two roads' blessings.
- Barrett
I noticed the CSX logo in a hard hat in one image. How'd you approach the railroad in photographing the series? I only ask because I've done this in the distant past with one or two roads' blessings.
- Barrett
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jbf
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Well... it's a bit of an issue to be honest. I made a friend with the manager of the car maintenance shop through a chance happening. The manager sub-leased an apartment of my friends over the summer. The manager was a young guy (a little older than myself) of 26 years old or so. He had been transferred to the city by CSX and was living in the apartment during the summer while he looked for a new place to stay.
Anyway, I had written him a letter mentioning it to him and he said he would love to be a part of it. I met with him a few times and he gave me a tour of the shop. From there it just evolved and went further.
The main 'touchy subject' is that I have to be very careful about when I photograph. On a given day I want to photograph I have to call around 9am to make sure that their regional supervisor is going to be absent from the shop. If he is, I can photograph till my heart's content. If not, I cant be there. Otherwise I risk getting my friend fired.
The railroad itself doesnt really give a **** to be honest... but the transportation section of the company (the control tower operators, etc, etc) get off by getting people fired... especially with the car maintenance shop. The two 'factions' dont really get along.
So yeah, its a bit tricky. The best bet is to just go to the regular people who work there and talk with him and make friends if possible. They're generally (esp the union workers) are not going to care. As long as they trust you and know you they'll watch out for you if you watch out for them.
Though I am going to try to get access to the entire trian yard back in my home city soon. Take the body of work I have so far and show it to them and see if they'll allow me to photograph since I've been doing it for a while now and see what they say.
Anyway, I had written him a letter mentioning it to him and he said he would love to be a part of it. I met with him a few times and he gave me a tour of the shop. From there it just evolved and went further.
The main 'touchy subject' is that I have to be very careful about when I photograph. On a given day I want to photograph I have to call around 9am to make sure that their regional supervisor is going to be absent from the shop. If he is, I can photograph till my heart's content. If not, I cant be there. Otherwise I risk getting my friend fired.
The railroad itself doesnt really give a **** to be honest... but the transportation section of the company (the control tower operators, etc, etc) get off by getting people fired... especially with the car maintenance shop. The two 'factions' dont really get along.
So yeah, its a bit tricky. The best bet is to just go to the regular people who work there and talk with him and make friends if possible. They're generally (esp the union workers) are not going to care. As long as they trust you and know you they'll watch out for you if you watch out for them.
Though I am going to try to get access to the entire trian yard back in my home city soon. Take the body of work I have so far and show it to them and see if they'll allow me to photograph since I've been doing it for a while now and see what they say.
amateriat
We're all light!
That pretty much squares up with my experience: as long as the guys in charge are around and know what's happening, it's usually cool. Once in a while I've been allowed to roam around yards and the like, but with the usual warnings about what to do and not do (hint: it's a good idea no to take long walks on the tracks; freight cars have a way of sneaking up on you when the engine pushing it is a dozen or so cars away on the other end). Based on the work you've done already, I think you'll impress the people in charge of the yard back home. I certainly don't see much work of this caliber being done like I used to.
- Barrett
- Barrett
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