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Phil Douglis | all galleries >> Galleries >> Gallery Eight: Light and shadow shape meaning > Figurehead, Upton Slip, Falmouth, England, 2004
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24-AUG-2004

Figurehead, Upton Slip, Falmouth, England, 2004

When you enter the narrow Falmouth alley known as Upton Slip, you will encounter an enormous figurehead moored outside of a sail-maker’s shop. My goal is to confront you with this strange piece of nautical history, and do so with impact and power. I take an intimate, in-your-face vantage point, making the head of the figurehead very large and powerful. The sun was very high in the sky, throwing harsh shadows on the face, particularly around the eyes. It was not good lighting at all. I solved the light problem by making it the solution. I made the mysterious, high key light work for me instead of against me. I let this confrontation become an eerie one, full of mystery and veiled menace. I tilted my camera so that the figurehead dominates the picture as a forceful diagonal instead of in a passive, vertical orientation. I leave half the face light and the other half dark, by metering on the bright side of the face with my spot meter. (Normal “evaluative” metering would tend to lighten the shadows and wash out the highlights in a situation such as this.) The result is a surreal encounter with a mysterious lady of the sea.

Canon PowerShot G5
1/1250s f/8.0 at 7.2mm full exif

other sizes: small medium large original auto
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Phil Douglis27-Feb-2005 04:38
I like your use of the word melancholy here, Norah. It is an excellent term to define the mood of this image, based on the sculptor's idea and my use of light and shadow superimposed on that idea.
monique jansen19-Feb-2005 09:32
Very effective and indeed menacing image. Did n ot see this one before Phil.
Guest 14-Feb-2005 04:06
Can't say anything bad about this picture. What I like most here are shadow and cropping. I can see that it is not finely carved statue. But the shadow softens her face and gives her blue eyes a touch of melancholy. The cropping leaves all the nonliving detailes out of the pictures.
Phil Douglis03-Dec-2004 04:08
Thank you, Norah, for that nice comment. You kind of summed up my working philosophy as a teacher and photographer. Form always follows function. Content comes first, last, and always.
Guest 03-Dec-2004 02:44
Such an excellent picture! Your galleries do not have elaborate decoration. Only the pictures are so fabulous.
Phil Douglis21-Oct-2004 23:11
Thanks, Jen, for another perceptive contribution. You add another dimension to the meaning of this picture when you talk of her sadness and her inability to open her heart and speak out. It is common for many of us to hold back and keep our thoughts to ourselves -- it is very easy to project our own shyness and fears into images such this. I agree -- it is the play of light and shadow here that bring this out. I am sure the original sculptor did not intend such meanings. Yet the power of photography to seize light and interpret it has made this possible here.

I wrestled with your scale incongruity suggestion here as well. I certainly could have taken the shot from farther back, and compared its size to something else, in order to show how huge it was. But that would have diluted the power of this confrontational head crashing through the borders of the pictures to enter our consciousness. You can't do everything in one picture. I made up my mind to confront the viewer with this image, and then did all I could to make it happen. I'm glad it works for you, Jen.
Jennifer Zhou19-Oct-2004 06:41
I always avoid shooting sculptures because it is so hard to bring them to life and make a picture that tells a story..

In your gallery 17, you taught us many tips to make such sculpture photos work, and now you use light and shadow to help stress the idea..

There is a sadness in her shadowed eyes, the expression and the head position make her looks like trying to tell us the secret in her mind. She want to speak out but just can't open up her heart and her month. The sculpture itself is full of story and your light and shadow bring out this picture more powerful, more emotional and mysterious.

I have no idea this sculpture is that big, and I am thinking it would be very interesting if you include something elso and make a point of scale incongruity.

Jen
Phil Douglis09-Oct-2004 21:12
It was not that short, Carol. It was a big head sitting on the ground, about eight feet high. I see what you mean by angle of view. I shot it head on at eye level.
Carol E Sandgren09-Oct-2004 18:50
It must have been a short statue then, to get above her like that with your camera. THAT's what I meant with the angle point of view.
Phil Douglis09-Oct-2004 00:13
Thanks, Carol, for your wonderful comment. I was very close to this huge figurehead -- only a few feet away. But my 24mm wideangle converter lens allowed me to create this closeup image yet still get the entire head -- which was huge -- in the frame.
Carol E Sandgren05-Oct-2004 18:54
In my face indeed! I feel as if I'm being peered at, questioningly, in my own computer! Your angle works very well here as does the shadowy face in the bright light which emphasizes to me that "unhuman" quality again. As for your point of view, I was wondering from where you shot this engaging shot.
Phil Douglis21-Sep-2004 21:18
And it is easy to get this angle, Lara. All you have to do is to tilt your camera! Just make sure you don't include any of the horizon, however, or the picture will be disorienting.

Phil
Lara S21-Sep-2004 21:10
I really like the angle on this photo. and the fact that you have situated a little to the right. It totally draws you in.
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