See more of her great work here
invited by ulf fågelhammar
Photographer: Christer Strömholm
"The picture you didn't intend to take is the one you later
are ecstatic about having taken.The two boys in Paris with
the handbags is an example of what I mean."
- Christer Strömholm
See all pictures from On verra bien on the
official homepage for Christer Strömholm.
Regarding previous published picture.
I think you overdid the vignetting here, in the sense that it would greatly benefit from more feathering. At least to me, that is.
first of all, I appreciate your honesty, I really do.
Regarding the vignetting, it is interesting to discuss. You are quite right that it is "overdone", if I'm trying to "fake" the analogue equivalent of bad lenses.
Instead, I would say that to me, the effect I added, contributed to the atmosphere of the picture. It added the feeling of a strong winter sun in early springtime... that's it to me.
I have stopped worrying about whether my post processing looks "genuine" or not (i.e. analogue), it is not about that to me. Digital is my medium and my material.
You could see this as developing the copies in a too hot developer, or by having an unexpected elbow pointing in into the composition. Look at the lamps on The Rambler below, do they look genuine? Either it is a failed photo, since it doesn't work - or it makes the difference in positive terms.
Hail to the norm deconstruction. :-)
This was 'about photography' as well. :)
Any more views, Dear F:ers?
We Westerners think they have something to do with stasis, a state
of solidity. But. but but but -- aren't they more about catching things
appearing or disappearing? about imperfection, mistakes, things that
may never come together again?
So much of the difficulty and drag of typical photo sites is that folks
think it's about pointing out the flaws. . . . and that kind of thinking
which equates no flaws with perfection.
So much of any art is about seeing how the flaws bring their own life
to what we make.
This is a deeply flawed photograph, but. but but but . . .