Frank Sellitto Posted September 4, 2017 Share #1 Posted September 4, 2017 Advertisement (gone after registration) Leica Barnack iiif, 35mm 3.5 summaron, Vista 200 Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! 4 Quote Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/276508-enclosed-patio/?do=findComment&comment=3352029'>More sharing options...
Advertisement Posted September 4, 2017 Posted September 4, 2017 Hi Frank Sellitto, Take a look here Enclosed Patio. I'm sure you'll find what you were looking for!
Robert M Poole Posted September 4, 2017 Share #2 Posted September 4, 2017 There's something terribly lonely about this image... www.robertpoolephotography.com 2 Quote Link to post Share on other sites More sharing options...
Frank Sellitto Posted September 4, 2017 Author Share #3 Posted September 4, 2017 There's something terribly lonely about this image... www.robertpoolephotography.com Robert- Thank you for your insightful comment.....as always! ~f 1 Quote Link to post Share on other sites More sharing options...
Ernest Posted September 5, 2017 Share #4 Posted September 5, 2017 There's something terribly lonely about this image... www.robertpoolephotography.com Provocative observation, an image that elicits something terribly lonely. This something is not in the image itself but beyond the image, and using the paired words terribly and lonely to define that somethingness illustrates the frustrated boundaries of text and image. Terribly lonely can mean very lonely, but terrible can also mean causing terror. Does loneliness cause terror? Is being alone terrible? Is this an image of terror? Is all of this extracurricular? What is the evidence? Poole underscores loneliness, but can loneliness be liberating or oppressive? Are we restricted to either/or? Sellitto's image intrigues and poses questions. It is not easily dismissed. The solitary figure, a middle-aged business man in transit, sits at a table with three empty chairs, his back to the camera. Only a bottle of water sticks out of his carryon bag and a paperback book on the table in front of him. The night scene looks like the set for a stage play, a sense of artificiality, reminiscent of Beckett's Theatre of the Absurd. Loneliness, the impossibility, absurdity of it all. A monolithic core ten steel wall with a flat tree sculpture and decorated with a few dozen cartoon-like over-sized butterflies, climbing no higher than the reach of a installation workman on a four-foot ladder. Then there's the memorial wooden bench on the left of the frame, dedicated to whomever, and the slightly mysterious rock pathway that leads nowhere in front of the core 10 steel wall. All in nearly shadowless illumination. Our traveler is caught between a splash of yellow and red flowers in over-sized pots. There are no witnesses to this scene, this theatre of the absurd. Is our traveler carrying on a conversation with the unseen occupants in the three chairs flanking his table? I know, I have perhaps carried on too far with this circus, but that is the frustrated boundary between text and image. Words are always defined with yet other words, whereas the image is concrete, as allusive as that may be. I hear applause for the Barnack IIIf! Bravo! (Sellitto, the photograph reminds me in a way of Struth's series in museums. Your photograph is part of a larger work focused on these nightscapes, the unrecognizable in transit? Very provocative photograph, this is you've shared.) 3 Quote Link to post Share on other sites More sharing options...
SilentShutter Posted September 5, 2017 Share #5 Posted September 5, 2017 Interesting what people can all see in a simple photo - says sometimes more about the beholder than about the picture.... 1 Quote Link to post Share on other sites More sharing options...
Ernest Posted September 5, 2017 Share #6 Posted September 5, 2017 Yes, guilty. Words invariably betray the writer just as the photograph proclaims vision of the photographer. What is notable is the subtext of the seemingly mundane we sometimes discount or simply disregard. In Sellitto's "Enclosed Patio," Poole latched onto "something" that was "terribly lonely," a subtext that was not easily definable with words, yet there it is in the photograph. An ambience. A sterile interior landscape that perhaps draws an equivalency of a mental landscape. Photographs that intrigue manage to prompt dialogue with a viewer that invites interpretation, a way of filling in gaps to bring into focus the blurs of logic. Sent from my iPhone using Tapatalk 2 Quote Link to post Share on other sites More sharing options...
SilentShutter Posted September 6, 2017 Share #7 Posted September 6, 2017 Advertisement (gone after registration) The advantage of words is they are more clear in interpretaion than a picture and they help to describe what you saw pressing the trigger when other´s don´t..... 1 Quote Link to post Share on other sites More sharing options...
Frank Sellitto Posted September 6, 2017 Author Share #8 Posted September 6, 2017 Provocative observation, an image that elicits something terribly lonely. This something is not in the image itself but beyond the image, and using the paired words terribly and lonely to define that somethingness illustrates the frustrated boundaries of text and image. Terribly lonely can mean very lonely, but terrible can also mean causing terror. Does loneliness cause terror? Is being alone terrible? Is this an image of terror? Is all of this extracurricular? What is the evidence? Poole underscores loneliness, but can loneliness be liberating or oppressive? Are we restricted to either/or? Sellitto's image intrigues and poses questions. It is not easily dismissed. The solitary figure, a middle-aged business man in transit, sits at a table with three empty chairs, his back to the camera. Only a bottle of water sticks out of his carryon bag and a paperback book on the table in front of him. The night scene looks like the set for a stage play, a sense of artificiality, reminiscent of Beckett's Theatre of the Absurd. Loneliness, the impossibility, absurdity of it all. A monolithic core ten steel wall with a flat tree sculpture and decorated with a few dozen cartoon-like over-sized butterflies, climbing no higher than the reach of a installation workman on a four-foot ladder. Then there's the memorial wooden bench on the left of the frame, dedicated to whomever, and the slightly mysterious rock pathway that leads nowhere in front of the core 10 steel wall. All in nearly shadowless illumination. Our traveler is caught between a splash of yellow and red flowers in over-sized pots. There are no witnesses to this scene, this theatre of the absurd. Is our traveler carrying on a conversation with the unseen occupants in the three chairs flanking his table? I know, I have perhaps carried on too far with this circus, but that is the frustrated boundary between text and image. Words are always defined with yet other words, whereas the image is concrete, as allusive as that may be. I hear applause for the Barnack IIIf! Bravo! (Sellitto, the photograph reminds me in a way of Struth's series in museums. Your photograph is part of a larger work focused on these nightscapes, the unrecognizable in transit? Very provocative photograph, this is you've shared.) Ernest, Thank you for investing the time to comment on my image and your evaluation of it, ignited by Poole's statement as a "subtext" .....an undercurrent or a token representing a psychological state. Not very often does one so eloquently write about an intentionally openended image in which is certainly a welcome. Best regards, Frank Sellitto 3 Quote Link to post Share on other sites More sharing options...
Ernest Posted September 14, 2017 Share #9 Posted September 14, 2017 Ernest, Thank you for investing the time to comment on my image and your evaluation of it, ignited by Poole's statement as a "subtext" .....an undercurrent or a token representing a psychological state. Not very often does one so eloquently write about an intentionally openended image in which is certainly a welcome. Best regards, Frank Sellitto Well, it is all your fault. It is a fault we should all aspire to attain. The provocative photograph that instills the imagination. Sent from my iPhone using Tapatalk 1 Quote Link to post Share on other sites More sharing options...
Frank Sellitto Posted September 20, 2017 Author Share #10 Posted September 20, 2017 Well, it is all your fault. It is a fault we should all aspire to attain. The provocative photograph that instills the imagination. Sent from my iPhone using Tapatalk Thank you Ernst! Frank Quote Link to post Share on other sites More sharing options...
Ernest Posted September 20, 2017 Share #11 Posted September 20, 2017 Thank you Ernst! Frank Keep up the good work! We will be on the lookout.[emoji106] Sent from my iPhone using Tapatalk Quote Link to post Share on other sites More sharing options...
Robert M Poole Posted September 21, 2017 Share #12 Posted September 21, 2017 I really did not imagine my comment would inspire such deep discussion but I'm glad it did! www.robertpoolephotography.com 1 Quote Link to post Share on other sites More sharing options...
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