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Phil Douglis | all galleries >> Galleries >> Gallery Six: Vantage Point makes the difference > Dance performance, Tymlat Bay, Russia, 2002
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Dance performance, Tymlat Bay, Russia, 2002

I photographed this spirited and colorful dance performance in Tymlat Bay's cultural hall from the perfect vantage point. Others in the audience were shooting for their seats, or found a spot in front of the stage. I elected to sit off to to one side, on the steps to the stage. I placed my camera on the floor of the stage itself -- giving the viewer as low an angle of view as possible. This vantage point allowed me to contrast the flowing motion of the dancers to the intensity of the dance master, who watches every step from the wings with much authority. It also helped me weave together three levels of meaning -- the blurred foot in the foreground conveys energy, the dancers in the middleground establish context, and the intensity of the boss watching in the background is the point of the picture.


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Phil Douglis06-Feb-2008 17:05
I knew this image would resonate with you, Vera -- given your years in the arctic. And don't fret over the past -- I, too, often find myself wishing that I could go back into time with my present knowledge of photographic expression and put it to use. Instead, we should look ahead to all of the opportunities for expression that lie ahead of both of us. I am glad that you have learned so much here, Vera and I hope that you will stick with it and keep learning more with each passing month.
Guest 06-Feb-2008 02:33
There is so much life in this picture; both old and young. The old lady sits with her cane, perfectly framed by the youth, perhaps thinking about her younger days when she danced the dance. This image takes me back to concerts I attended when living in an Inuit community in Nunavut. I wish I knew then what I know now...about lots of things but what I am learning from you in particular. The photo has really struck a chord with me.
V.
Phil Douglis21-Aug-2006 22:11
I see the focal point of my image, Chris, and then I move to a vantage point where I can emphasize it. Our vantage point is one of three choices all photographers must make in space: the place where they stand when making the picture is most important of these choices, because that will determine our other two choices in space: our frame, and the placement of detail within that frame.
Chris Sofopoulos21-Aug-2006 08:49
The eye goes directly to the old master at the back.
So powerful angle you have chosen.
Phil Douglis25-Oct-2004 17:28
Ah, selective focus at work! Use my image and Marek's to practice singling out that part of the picture that makes the point, and then use everything to support it as context. By making the focal point sharp and rest soft or softer, you can draw attention to what is important, and only suggest the rest.

Phil
Guest 25-Oct-2004 17:18
Thank Phil and thank Marek for teaching me how to use focal point to tell story.
http://www.pbase.com/warno/image/21068810 It's Marek's shot.
Phil,I will take a camera with a 50mm lens to find stories tomorrow.I will do my best to practise your conception.
Phil Douglis07-Jul-2004 17:59
Thanks, Bruce, for the insightful comment. You are right -- as photographers, we often have to struggle with an ingrained desire for sharpness -- as if sharpness in itself is somehow a virtue. Yet sharpness is no more or no less valuable than softness. It is just another way of seeing, of sorting, of establishing priorities. A good photo is one that expresses an idea, and often ideas are best expressed by playing soft areas against sharp areas for emphasis.
Guest 19-Jun-2004 11:37
This is wonderful - my eye is drawn to the seated figure in the background. The discussion here about sharpness is fascinating, and... liberating. While I am often impressed by the clarity and softness I find in many photos, it's often the "fuzzier", moodier pictures that move me emotionally. But when I try for (or just allow for) softness in my photos, I often feel defensive about my choice, as if I somehow failed to take a truly good photograph.
Phil Douglis28-Nov-2003 02:00
Thanks, Marek, for reinforcing a key point that I try to make in my tutorials, workshops, writings, and in these galleries as well. Photographic techniques are there for us to serve meaning. Techniques are not ends in themselves. All too many photographers worship at the altar of sharpness, as if sharp photographs were of great value in themselves. There is no inherent value in a sharp picture that says nothing. We can use sharpness, softness, images frozen and images blurred, to communicate ideas, such as I tried to do here. As you say, there are no formulas, no magical keys to photographic meaning. You are correct --we should use whatever technique is required to tell the story. Sadly, many photographers make pictures without any story in mind. And that is tragic. Because stories, ideas, and meanings are everywhere, waiting for photographers such as yourself to find them and express them in their imagery.
Guest 27-Nov-2003 22:40
Choice of DoF, shutter speed and focal point all work to each others' advantage to tell the story of energetic youth and nostalgic age. I have long ago stopped worrying about what 'needs' to be sharp, according to some set formula. The answer: Whatever is required by the story.
northstar3730-Oct-2003 16:24
The old woman seems amused by your antics!
Phil Douglis11-Oct-2003 02:38
V -- in this shot, the camera is resting on the floor of a stage. I simply rotate my LDC viewfinder to compose my picture from way down there. (Also see my other comment at:http://forums.pbase.com/post?post_id=647450
Phil
Vanessa 08-Oct-2003 22:15
Again, camera on the floor. Tell me more!
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