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Around Kiev


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Striking compositions. All of these have a sense of alienation, isolation. The first photograph 1217 even looks like a military installation with army tanks in the distant background? Two flagpoles in front of the building? Nevertheless your eyes riveted on the single solitary figure in the middle of the frame sandwiched between the darkness which may be an overpass. He doesn't have an umbrella, whereas the three figures silhouetted on the right have their's. Photograph 1154 could even be black and white. The tunnel is a timeless conduit: no interaction of the people moving through it. Composed like a vortex. Photograph 1212 again underlines alienation. Painterly bokeh that begs a voiceover from the viewer. I like that you did not make a production out of the raindrops on the window. And lastly, the Monochrom 2189 shot of the passenger-to-be with his foot on the limit line looking at the billboard of the skyscrapers on the opposite side of the subway track. Ironic, he is underground looking at the vision above ground. Isolated. No interaction with the other figures in the composition. Summicron-M 35mm and the Noctilux put to good practice. Bravo!

 

 

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Thanks Ernest for taking time to comment on my photos. Very much appreciated. 

 

1217 is at the war memorial museum in Kiev, hence the tanks in the background. 

You have a selective eye, and I get the sense of you saying something provocative with your shots and not simply recording visual documents. BTW when I looked at 1212 on my BenQ monitor it became practically 3D! I don't know whether you realize it, but your photographs seem to beg soundtracks, sounds of the environment, I mean, not music per se, but the music of living in the moment. Cheers.

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Thanks so much for sharing your talent! Such engaging photographs. Interesting what you're doing with your Noctilux 0.95 and the very shallow depth of field, such as the nature details in your Flickr catalogue. Your 2167 shot here ironically has a luminous quality to the domes. Very traditional, symmetrical composition, appropriately so.  One small thing; the iron fence uprights should have been "perfectly" perpendicular to mirror perfection of the church, perhaps? You certainly tamed the architectural with the 18mm in 0974. How would you feel letting the interior go more under-exposed and the window light less over-exposed? The eye certainly goes to the ladder on the steps. The piano player? That's another tune all of the moment.

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