Evgeny Ermakov, I seem to recall you sternly warned that the conversation would remain ON-TOPIC, otherwise sanctions and the cutting off of one's tongue would be imminent. You previously somehow outlined the topic, the Field Works project, and all that. I only know about Vasilisa, who was a WISE woman who always stored her hay in the barn under a canopy. I don't know what to say about yours, but sleep peacefully tonight, Evgeny.
Evgeny Ermakov, I seem to recall you sternly warned me that the conversation would be strictly on TOPIC, otherwise sanctions and the beheading of my tongue. You used to somehow indicate the topic, the Field Works project, and all that. I only know about Vasilisa, that there was one such WISE woman; she always stored her hay in the barn under a canopy. I don't know what to say about yours, but sleep soundly tonight, Evgeny.
Viktor Kirillov, Well, you see how well I've trained you. It seems there's even noticeably less nonsense in your writings. The whip, oh, how useful it can be. I don't think it will come to the rod. After the rod, I usually move on to the third degree of intimidation – breaking on the wheel. Don't forget, I'm keeping an eye on you! And I sleep like a real scoundrel and bastard, always calmly and soundly.
[quote]Viktor Kirillov, well, you see how well I trained you.
Evgeny Ermakov, It's something completely different. You contributed minimally to Vasilisa. The lighting is soft, you don't know how to handle shadows humanely, nor color. The composition is free of experimentation and avant-garde. The title and lyrics weren't contrived. I have nothing to comment on, it's a typical, standard photo for a home album, so who "trained" whom is still a question.
Viktor Kirillov, well, you see how well I trained you.
Evgeny Ermakov, It's something completely different. You contributed minimally to Vasilisa. The lighting is soft, you don't know how to handle shadows humanely, nor color. The composition is free of experimentation and avant-garde. The title and poems weren't contrived out of thin air. I have nothing to comment on. It's a typical, standard photo for a family album, so who "trained" whom is still a question.
Viktor Kirillov, and all the photos ultimately end up in someone's family album, which makes me happy. It would be much worse if they ended up in the trash.
Viktor Kirillov, and all the photos ultimately end up in someone's home album, which makes me happy. It would be much worse if they ended up in the trash.
Evgeny Ermakov, Well, you're talking about your own photos. I do that kind of work too, but I don't consider commercial photography artistic. It has a narrowly utilitarian, applied purpose. It certainly needs to be done honestly and well, but I don't show it on a PHOTO website; I'm not interested in boasting about generic, cookie-cutter work. Besides the home album, there are also EXHIBITIONS, COMPETITIONS, MUSEUMS, INTERIORS, COLLECTORS, etc.
Evgeny Ermakov, Well, you're talking about your own photos. I do that kind of work too, but I don't consider commercial photography artistic. It has a narrowly utilitarian, applied purpose. It certainly needs to be done honestly and well, but I don't show it on a PHOTO website; I'm not interested in boasting about generic, cookie-cutter work. Besides my home album, there are also EXHIBITIONS, COMPETITIONS, MUSEUMS, INTERIORS, COLLECTORS, etc.
Viktor Kirillov, I'm currently satisfied with the applied nature of photography, namely, the modest reward for my creativity. As for sculpting something, like imitating imitators of murky art, that doesn't appeal to me. Well, not at all. I tried, but I wasn't excited. And being hungry for something sublime and not universally understood isn't my thing. I will survive if collectors refuse my collections.
Viktor Kirillov, I'm currently satisfied with the applied nature of photography, namely the modest compensation for my work. But sculpting something, like imitating imitators of murky art, doesn't appeal to me. Well, not at all. I tried, but I wasn't excited. And being hungry for something sublime and not universally understood is not my style. I'll survive if collectors reject my collections.
Evgeny Ermakov, Why then are you irritated by MY CORRESPONDING attitude toward your "creativity" if your ultimate goal is to please the client and nothing more?
Evgeny Ermakov, Why then are you irritated by MY CORRESPONDING attitude toward your "creativity" if your ultimate goal is to please the client and nothing more?
Viktor Kirillov, but you're not my client. And we have diametrically opposed views on some things. So, I don't bother you with your snowdrifts. You don't touch my projects. And we don't irritate each other.
Viktor Kirillov, but you're not my client. And we have diametrically opposed views on some things. So, I don't bother you with your snowdrifts. You don't touch my projects. And we don't irritate each other.
Evgeny Ermakov, This world is worse than a photo of death. I'm too lazy to even scroll through most of the photos here, let alone look at and comment on them.
Viktor Kirillov, too lazy to scroll, too lazy to comment, you love being sent away. So, my dear fellow, you're a masochist!
Evgeny Ermakov, No, I'm saying the photos aren't interesting; I don't want to waste my time or eyes on them. "Sent away" are incompetent photographers who are incapable of arguably defending their work.
Evgeny Ermakov, I rarely do this unless asked, but now your time has come: - Was it necessary to show the girl's beauty? Why so much extraneous detail? - Is the girl the main subject of the photo? Or not? Why doesn't she dominate the frame? - Looks like, "Well, stand next to this haystack, I'll take a photo." - I'll move the horizon right up to your neck. - Should the top of the haystack and the horizon be level? - Is removing unnecessary buildings and poles in the background a job for losers? - Is working with the model's hands also for losers? - Is the pouty expression on the lovely model's face the author's intention? - Are the white slippers part of the author's plan? - Is asking her to pose for someone other than us professionals? - On the positive side, the hay is in sharp focus.
I realize I've made an enemy. Take people into account, Evgeny. You can't be on the same level with everyone. Sorry.
Evgeny Ermakov, I rarely do this unless I'm asked, but now your time has come: - Was it necessary to show the girl's beauty? Why so much extraneousness?
Well, I didn't plan to take passport portraits. It's too early for her to change her document.
- Is the girl the main subject of the photo? Or not? Why doesn't she dominate the frame?
See above. This is more of a studio technique due to lack of space. But here I still wanted to talk about nature.
- It looks like - well, stand next to this hay bale, I'll take a photo.
Exactly. And do your models wander around the studio on their own, without direction, and you run after them, trying to catch them in your sights?
- I'll pass the horizon right along their neck.
Well, I don't see that as an obstacle. Actually, the horizon issue is highly politicized, and everyone has their own argument for its absence or presence. I can only say in my defense that it's very, very blurred and doesn't interfere with perception.
- Should the top of the haystack and the horizon be at the same level?
No, they don't. Here, like you, I hope I adhere to some kind of doctrine.
- Is removing unnecessary buildings and pillars in the background for suckers?
I don't know any suckers, and I try not to sit down and drink any kind of drink with them, because I consider it a disease, and quite contagious. And about the skyscrapers in the background? Do they really interfere so much with your perception of the girl in the frame? Especially since they're so blurry. Or do you have a short attention span?
- Is working with a model's hands also for suckers?
She should have been tied up or, perhaps, chopped off, perhaps even more drastic. But the axe hadn't been washed yet since the last photo shoot. And I don't use dirty tools for fear of contaminating the next victim.
- The lovely model's pouty expression – the author's intention?
Exactly!
- The white slippers – part of the author's plan?
The model absolutely refused to wear those swamp shoes. Only after I threatened to chop off her lower limbs next time did she agree. Consider that under extreme pressure.
- Asking her to pose not for us, the professionals?
I was asking precisely for you.
- On the positive side – the hay in the harshness.
This argument is for advocates of agriculture and forage harvesters.
I realize I've made an enemy. Choose your people, Evgeny. You can't be on the same level with everyone. Sorry.
Well, you didn't spit in my schnapps. So, don't get too excited about the blood feud.
Evgeny Ermakov, I rarely do this unless asked, but now your time has come: - Was it necessary to show the girl's beauty? Why so much extraneous information? - Is the girl the main subject of the photo? Or not? Why doesn't she dominate the frame? - It looks like, "Well, stand next to this haystack, I'll take a photo." - I'll move the horizon right up to your neck. - The top of the haystack and the horizon must be at the same level? - Removing unnecessary buildings and poles in the background - for losers? - Working with the model's hands - also for losers? - The pouty expression on the lovely model's face - the author's intention? - Are the white slippers part of the author's plan? - Asking her to pose for someone other than us professionals? - On the positive side - the hay is in sharp focus.
I realize I've made an enemy. Sort people out, Evgeny. You can't be on the same level with everyone. Sorry.
Backwoods, You've stepped onto a slippery slope, gentleman, so-called critic. Points 7-10 violate the International Convention for the Protection of Populations of Hand Models. The girl doesn't dominate the frame "because the author's intention is WIDE," that is, to show the grandeur of the haymaking industry and its unity with nature and the girl's neck on the horizon. Once upon a time, our field landscapes were decorated with stacks of straw, piled high with pitchforks or a DT-75M tractor. I first saw these exotic cylinders in the Czech magazine Foto. I was struck by their toy-like beauty and the orderliness of the windrows. Now, a rare wedding passes by without tearing the bride's white nylon stubble. The author isn't to blame for the white slippers and pompous expression; the principle is perfectly disguised as is - the client likes it! This is one of Evgeny's best photographs precisely because it has minimal processing and authorial intervention. The biggest drawback of this work is its jaw-dropping banality and the yawning that tears the accordion's mouth apart. Another one of hundreds of thousands, View of hayfields with staffage.
Evgeny Ermakov, It's something completely different. You contributed minimally to Vasilisa. The lighting is soft, you don't know how to handle shadows humanely, nor color. The composition is free of experimentation and avant-garde. The title and lyrics weren't contrived. I have nothing to comment on, it's a typical, standard photo for a home album, so who "trained" whom is still a question.
"Sent away" are incompetent photographers who are incapable of arguably defending their work.
- Was it necessary to show the girl's beauty? Why so much extraneous detail?
- Is the girl the main subject of the photo? Or not? Why doesn't she dominate the frame?
- Looks like, "Well, stand next to this haystack, I'll take a photo."
- I'll move the horizon right up to your neck.
- Should the top of the haystack and the horizon be level?
- Is removing unnecessary buildings and poles in the background a job for losers?
- Is working with the model's hands also for losers?
- Is the pouty expression on the lovely model's face the author's intention?
- Are the white slippers part of the author's plan?
- Is asking her to pose for someone other than us professionals?
- On the positive side, the hay is in sharp focus.
I realize I've made an enemy. Take people into account, Evgeny. You can't be on the same level with everyone. Sorry.
Backwoods,