Huge lawns separate the inhabitants from the street, and therefore from each other. Looming shadows in the foreground clearly show that this was shot either from the inside of a dwelling, or perhaps from directly in front of the house. The viewer reaches out to the world from his lonely abode, only to find bleakness; nothingness.
The house across the street (significantly, the one with the car) has a smudge in the sky above it: it is the moon. It draws our gaze into the void - is the void of the suburbs equivalent to the void of interstellar space? Or are we drawn to Nothingness? Is the Nothingness of Suburban America the void into which we must drop before we become aware of our very existence? Or is it the "end", in and of itself.
I see a wry, humourous expression of "photograpic verity", clearly interpreting the human condition, but also containing within it the very solution to the same.
Well done, Bill.
-frank
PS: Unlike Tom, my mother always told me that if I have nothing good to say, don't say anything at all.
"The optimist thinks this is the best of all possible worlds. The pessimist fears it is true." -J. Robert Oppenheimer
From: graywolf <[EMAIL PROTECTED]> Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: Zenit 16mm Fisheye & *istD Date: Wed, 15 Oct 2003 13:17:21 -0400
Well it looks like a 79k jpeg of a shot across the street. Artistically I rate it a 0. Technically I rate it a 0. Informationally I rate it a 1. However the exposure looks OK, if that was your point. It does make the 16mm fisheye look like a not great 24mm (too much distortion for a rectilinear lens, not enough for a fisheye lens).
See why I don't usually do critiques?
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