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Phil Douglis | all galleries >> Galleries >> Gallery Twenty: Controlling perspective with the wideangle lens > How far is far? Lamar Valley, Yellowstone National Park, Wyoming, 2006
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29-SEP-2006

How far is far? Lamar Valley, Yellowstone National Park, Wyoming, 2006

I made this image with a 28mm wideangle lens about one hour after I made a 230mm telephoto image from the same spot (To see it, click on the thumbnail at the bottom.). They are two entirely interpretations of the same subject. In this image I am speaking of tremendous distances and wide-open spaces. It exaggerates an already sweeping scene, a long straight road, and a vast sky just after dawn illuminates its clouds. It is all about convergence. The double yellow line, the two white lines, and the rough edging of the highway itself all lead to the same vanishing point and the disappear altogether. Note Druid Mountain in the distance. Compare it to how Druid Mountain looks in my telephoto shot. This comparison between wideangle and telephoto optics speak volumes about the camera’s ability to distort reality in order to express an idea. Perhaps the most sobering fact about this comparison is that 230mm is not really a very long telephoto, nor is 28mm really a true wideangle lens. We can go a lot longer and much, much wider, which would make the disparity between this pair of views even greater.

Leica D-Lux 2
1/100s f/3.2 at 6.3mm iso80 full exif

other sizes: small medium large original auto
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Phil Douglis13-Dec-2011 16:15
Beautifully said, Barri. Your observations about the nature of vastness, solitude, and the road of life that all must travel alone, ring true. I am delighted that this image triggers such thoughts. Such is the potential of expressive photography.
Barri Olson13-Dec-2011 09:14
I like this photo a great deal. The solitude, and yes right away I thought "the distance is the subject". The wide angle certainly adds a feeling of vastness...as does the bluing of the distance. It almost reminds of the road of life, each of us travels alone, uncertain of where the road leads. It's really a very contemplative photo in my mind.
Phil Douglis28-Apr-2007 16:09
Thanks for this comment, Barry. People in the foreground often can help give scale to a scene. In the case of your own picture, it would have helped pull the viewer in. In this case, the emphasis created by the wideangle perspective provides more than enough "pull." The lack of people make the scene even more lonely, which was my intention.
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Barry S Moore28-Apr-2007 11:01
Wow, Impressive shot. I have tried a photo graphing along similar lines athttp://www.pbase.com/barry_2718/image/77447341, but i think it needs a person in the foreground. Voted
Phil Douglis03-Nov-2006 19:38
I love Mike Long's image -- it carries us to a place of great interest. In this image, however, the converging lines carry us to nowhere in particular. They even miss the beautiful sunrise, as you say. And that is exactly what I wanted to do. I want that road to run forever and ever. I don't want it to lead anywhere in particular, rather I want it to just keep on going. You are looking for the primary subject here, Zane. To me, the road is that primary subject. It leads to a vanishing point, where presumably it continues to run on into the great space towards the distant mountain. I let the imagination of the viewer continue the journey.
Zane Paxton03-Nov-2006 18:59
The danger of composing with strongly converging lines is that they are emphatically pointing, presumably at something. Within the realm of expectations, I think that we would want that "something" to be the primary subject. What is a bit disconcerting is that the lines aren't pointing at the brilliant sunset, so my eye is drawn back and forth between the most visually interesting and eye grabbing aspect of the image, the sunset, and then back to the expected "something" at the the conclusion of the converging lines.... then back to the white line on the road. So at least my eye is contained within the image, but a comfortable resting place for the eye is left unresolved... I get the near/far visual play here, but such a bold composition attempt wants an equally bold primary subject to point at don't you think?

To drive the point home in a manner of a "visual conversation", here is a brilliant image by Mike Long where the hedge points to the primary subject in a visually bold and satisfying way:http://www.pbase.com/mikelong/image/69643131

Cheers
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