ScottEllington [2020-05-12 13:31:28 +0000 UTC]
Even though I know Samantha is neither rollerblading, skating nor surfing rapidly through your focus,
the persistent perception that she's flying away toward vanishing point resists what I think I know;
so maybe the powerful sense of dynamism and dynamic velocity comes from the exquisite combination of
literal and absolute overhead contrejour backlight, the static top-dead-centrality of subject amplified by your
roadkill's point of view in contrast to the rolling illusion of a curved Earth where all straight lines of sight converge
somewhere beyond the supertrue horizon (even random treelines! [so the curious eye goes in search
of even bizarrer "accidental" patterns]).
And then there's the subtle tension between vanishing point and the actual orthogonal center of the image.
It's easy enough to eyeball an intersection of the corners of your frame at a point in the image where
Samatha's right shoulder, a lock of her hair, and the open reach of her right hand aren't; in the creation of an
acute synaptic gap reminiscent of perhaps THE most bornographic negative space in all of Western history;
The Oneness that feels like a spark plug igniting the human whimagination -- on the ceiling of the Sistine Chapel,
and all with a dearth of Adams...just a single Eve. Progressive!
Middle of the road my ass. I think you have here initialized a whole new quality of perception of movement,
ironic movement in the glacially-slow evolution of immobile stills photography. And I hope there's no turning back.
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