Quote:
Originally Posted by Hippikos
That's your own perception. To me it's just a surreal picture of a young couple which dreams about a happy future were shattered because of an unnessecary war, but nonetheless decided to continue with their marriage which asks a lot of courage and dedication of both.
Sure we'll never be sure if it'll last, but at least can't we give this couple the benefit of the doubt?
This picture was not manipulated, the drama comes from the principal characters itself.
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If you look at the res of her work you will understand what I am talking about. I am not refering to that picture specifically but her work as a whole.
I agree with you about the picture of the couple, and I certainly don't mean to cast any doubt on the couple or their feelings for one another.
As for the Tomoko shot, it wasn't "lit" at all. It was dramatic light, but if you know about gene smith's work he shot in "available light" and didn't carry along lighting gear. In fact, many people say he shot in "available darkness" because he often worked in situations where there wasn't any light. In that particular shot the window was the only source of light in the bath and he couldn't have shot it from the other direction since there wasn;t anywhere to stand. As it is "contre jour" or backlit is not a desirable position to be in to photograph. He did what he had to.
I understand it is hard to have a discussion about these photographers with out you knowing much about them or their manner of working, but if you look at a larger body of work, learn a bit about the photographer's method of working you may see what I mean.
Apologies if I sound condescending, I don't mean to.