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Phil Douglis | all galleries >> Galleries >> Gallery Thirty Seven: As others see me > Lion shoot, former Westward Ho Hotel, by Rusty Latshaw, Phoenix, Arizona, 2007
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08-MAY-2007

Lion shoot, former Westward Ho Hotel, by Rusty Latshaw, Phoenix, Arizona, 2007

Pbase photographer Rusty Latshaw http://www.pbase.com/russellt ) recently spent a couple of days shooting in downtown Phoenix with me as part of a one-on-one tutorial session. We spent several hours searching for images together in a senior citizens residence, housed in what once was the lavish Westward Ho Hotel. The historic hotel was built in 1928 and closed forever in 1980, but many of its treasures are still intact, including this fountain featuring a ceramic lion’s head. Rusty and I were both photographing it, but I had had no idea that his concept involved me. I guess he saw the whimsically incongruous connection between my hat, which I originally purchased to use on an African safari, and that ceramic lion I am shooting. Rusty used the same kind of camera to make this image that I am holding in my hand – the Leica V-Lux-1. Its amazing image stabilization feature allowed him to make this image in a very dark hallway, without flash, at a one-third of a second exposure, hand-held. The image I am trying so hard to make here involved shooting that ceramic lion in profile. It never made my cut. I am fond of quoting my iconic mentor Henri Cartier Bresson, who also used a Leica, (but not this one). He said, “You have to milk the cow a lot, to get a little cheese.” In this case, there was a lot of milk, but alas, no cheese.

Leica V-Lux 1
1/3s f/2.8 at 8.4mm iso100 full exif

other sizes: small medium large original auto
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Phil Douglis21-Aug-2007 06:16
Thanks, Patricia. Rusty does a wonderful job of organizing this image -- the negative space between Phil and the lion is incongruously amusing in its own right. Thanks for making me see it. I don't know if Rusty did this on purpose or not, but the spacing is wonderful. I thank you too for praising the 73 year old legs. The left knee is problematic these days, but on the whole, they get the job done.
Patricia Lay-Dorsey21-Aug-2007 02:51
I very much appreciate the composition here, of Phil off to the side, not as the central feature. It gives a feeling of immediacy that is echoed in Rusty's telling of how this image came into his viewfinder as gift. But he was the one to compose it so well, with Phil's jogging shoes, relaxed position and great legs (couldn't resist!) all intact. I too would have imagined Northern Africa not Phoenix, but since I've never been to either place, what do I know!
Phil Douglis15-Jun-2007 04:50
Thanks, Verdi and Veraferia, for your thoughts. I am delighted that Rusty's image of me has made viewers from Italy to Brazil stop and think and feel and see. And thank you, Rusty, for filling us in on your own intentions in making this image. You tell us what this image means to you -- and how you came to make it. I agree -- digital imaging gives you "free film" for life -- you can "work" an image until it works for you, and hopefully for your viewers as well. I am glad you feel so strongly about the lessons offered here in cyberbook as well. I would hope that it will offer you inspiration and ideas upon which to build your own vision. I don't see it as "controlling your choices" as a photographer. You must control your own choices, and define your own style and purposes as a photographer as well. If my images and ideas, and these discussions, can be helpful, all the better. Thanks, Rusty, for joining the discussion.
russellt13-Jun-2007 00:50
why did you take this pic (and not others)? and, what were you thinking of at the time of the click? are, I think, very big questions. the answers, I think, get rather difficult and occult. as I recall, on this one I was mainly conciously aware of the gorgeous light reflecting in off of a building next door. this would be courtesy of phil's planning. I was aware there wasn't much quantity of light, altho I was not aware that shutter speed had become so precariously low. I can't remember but it looks like the camera was at waist level, which adds stability, not that this was in my concious thoughts. the v-lux is still sort of a foreign camera to me. I was mainly attending to the shiny lion and the geomoetry of things, both of which somehow caught my eye. phil was not in my conciousness or viewfinder at all. phil walked onto the viewing screen, and there it was, a completely obvious photograph, a gift falling from the sky, so it's time to push the button. it was "aha" an obvious photograph, and not analysis and therefore an obvious photograph. so in this sense it was a found image, and not a planned or concept sort of thing. I was conciously aware of not cutting off phil's feet, thus spoiling the view of phil's much admired legs. "russ the butcher" has a nasty habit of cutting off hands and legs, which I am trying to cure. there wasn't much or even any time to work the image; phil was moving around and the instant was there for the taking and then immediately gone. I am trying to get into the habit of working images more, an important teaching from phil, especially in these times of zero marginal cost images. I don't think this is anything like a complete or satisfactory answer however. you ride a bike and you don't fall off, only because of something you've learned, and because of your mind effectively attending to things and controlling behavior, and yet your concious mind can be completely elsewhere. I think that photography is a lot like that. there's all sorts of life and literature, admired photographers and artists, not to mention distillations in this cyberbook, which in the last analysis probably have some sort of dominating unique control on my own or anyone's photography choices.
veraferia12-Jun-2007 18:22
I love the shadow and light in your face!
Guest 06-Jun-2007 16:39
Superb feelings Phil
Bravo

verdi-
Phil Douglis20-May-2007 03:53
I'm sure that's why Rusty included them, Iris!
Iris Maybloom (irislm)20-May-2007 02:39
I don't know which I'm drawn to the most: the lion's head or the Philip's legs. Actually, I vote for those legs, they're a winner!!!
Phil Douglis17-May-2007 05:36
Rusty did a fine job here of using the language of my body to tell a story, right down to the casual positioning of my feet. You have a good eye, Aloha.
Aloha Diao Lavina17-May-2007 03:30
I like this one, it shows your intensity in focusing on the task at hand, but your feet show an ease with what you're doing.
Phil Douglis16-May-2007 16:09
Good point, John. We are both photography teachers, and value interaction. They say photography is a solitary pursuit, and in many cases, it has to be. But in learning situations, there is no better tool than sharing results with fellow photographers. I am constantly showing how I am viewing a subject to my students, and urge them to do likewise with me and with each other. Later, viewing images as an audience on the computer, while the experience is still fresh, is invaluable. None of this was possible in the days of film, aside from your view camera example.
Guest 16-May-2007 15:45
Nice image of you in your element Phil. When working in groups sometimes we forget (don’t think) about the interesting subjects WE make. Spend some time “Milking the Cow” and notice the interest you draw from other people. Especially when the subject matter is something the normal non-photographer person would not even see.

Not too long ago during workshops, looking through the viewfinders of cameras on tripods was a great teaching tool. Seeing the view as another photographer did and how they put the different elements together in the scene. In today’s digital world being able view images on the big screen each evening is even better.
Phil Douglis13-May-2007 05:49
Wonderful comment, Linda. Here I am, visiting a piece of Phoenix history. And you were once a part of that history. The hotel closed in 1980 and became a senior citizens residence. That was 27 years ago, a lifetime for some, and a distant memory for others. Glad you enjoyed this scene, Linda.
Phil Douglis13-May-2007 05:31
I sensed the warmth of history here, too, Jenene -- this place was once a luxury hotel, and this lavishly designed water fountain still functions, just as it did in 1928.
Linda Willets13-May-2007 05:30
Enjoyed this scene from the Westward Ho Hotel..had been there many yrs ago.
JSWaters13-May-2007 03:09
I like the connection between the 'ethnic' style of tile decoration, and your safari gear. In the southwest we enjoy wonderful connections to artisans and artwork rooted in tribal traditions, be they native or immigrant. The richness of these colors and the warmth of the history are very inviting.
Jenene
Phil Douglis12-May-2007 16:07
The safari outfit does indeed suggest far flung travel, even if I am home in Phoenix. It's hot here, and the outfit works.
Sue Robertson12-May-2007 11:35
You look like you are in a middle eastern hotel, dressed in your safari outfit. Yes the digital age does enable you to go out and discover and learn. What a treat!
Phil Douglis11-May-2007 17:24
Thanks, Alina. The greatest advantage of digital over film is the fact that we can shoot as much as we want without guilt. We can shoot things that we know will probably never work out. We can learn from every shot, whether or not the image works. And its all free. And yes, that's is a pretty acccurate image Rusty made of me as I work. I take my time, try and try again, hoping in the end to gain, and then give, knowledge.
Alina11-May-2007 08:35
The same here with my camera. A lot of milk and little cheese. Good thing I have delete button.
I like that photo-portrait of you.
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