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Phil Douglis | all galleries >> Galleries >> Gallery Eight: Light and shadow shape meaning > Old Wood, Scottsdale, Arizona, 2005
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25-MAY-2005

Old Wood, Scottsdale, Arizona, 2005

It’s not the subjects themselves that make this image expressive. It’s what the interplay of light, shadow, and color do to those subjects. These massive wooden coffee tables, sitting upon a rainbow-like hotel carpet, are defined by light, and at the same time are abstracted by shadow. Light and shadow can create the illusion of a third dimension, even though a photograph has only two dimensions. The warm colors of this carpet reflect light on to the richly grained ends of these tables, painting them with a warm, reddish glow. The light also emphasizes the aged texture of the surface. It casts the shadows of these tables upon the patterned design of the carpet, superimposing the geometry of wood upon the geometry of the weave. I combine both tables and carpet as illuminated symbols representing the lifestyle of the American Southwest – bold, colorful, and primitive, yet also contemporary, with an eye on the future.

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Phil Douglis24-Jun-2005 21:13
Taddio strikes again! Once more you draw on your amazing mind and long experience as a reader, writer and teacher to illuminate one of my images (pun intended)! I value all of your observations, and this one in particular. You show us here how the interplay of light and shadow not only defines meaning but becomes a game or mental exercise. You make us see light and shadow in new and exciting way, Marisa. I thank you for your knowledge and your contribution -- you've given me new eyes!
Guest 18-Jun-2005 17:00
There's a small book (not because of its importance) written by Junichiro Tanizaki in 1933, called 'In Praise of Shadows' . I thought about it when I saw this picture, Phil.
You wrote in the caption: 'It’s not the subjects themselves that make this image expressive. It’s what the interplay of light, shadow, and color do to those subjects'.
In the book, Tanizaki wrote about how in the West, the most powerful ally of the beauty has been always the light. But, in the traditional Japanese aesthetic, the essential is to catch the enigma of the shade. The beautiful thing is not a substance in himself but a game of ligh and shadow, produced by the juxtaposition of the different substances, that is forming the subtle game of the modulations of the shade. Just like a fluorescent stone in the dark loses all its fascinating and precious jewel sensation if, outside, is exposed to total light, the beauty loses all its existence if the effects of the shade are suppressed.
Here, I find -again- the relation with the Tao symbol. We find smooth and rough... Light and darkness and, in both of them, a piece of the other. The dark wood has light and the colorful reflection. The lighing carpet has shades and the line pattern of the wood.
We have intense light and darkness.. but also a mid zone, a place where both of them join together to create a third part: the transition, the middle way.
Phil Douglis31-May-2005 23:28
Thanks, Anna. Your own images bear this out. The most expressive examples of your own work define meaning through the interplay of light and shadow and color. And when you choose to employ "a piece of the subject to give the whole picture," your images always resonate with meaning.
Anna Yu31-May-2005 06:54
"It’s what the interplay of light, shadow, and color do to those subjects." A valuable reminder Phil. Perhaps the difference between a work of art and a plain photograph is described in those words. A piece of the subject can suffice at times to give the whole picture.
Phil Douglis31-May-2005 04:15
Hi, Derek. Thanks so much for stopping by my galleries and appreciating the nuances of this image. I agree with you -- cropping this image from the right would remove its mysterious soul. Those shadows down there were very important, because they create critical contrast for the more illuminated areas. People who crop out the darkness from their images would be losing the advantages that abstraction can bring them. I hope you will gradually be able to get through the 600 images I post here in my cyberbook on expressive photography. Every image is a lesson in itself, as is my commentary and the dialogue of comments that follow. I would welcome your comments and questions on any image, and will be glad to respond.

Phil
Guest 30-May-2005 22:48
Hi Phil
Only just come across your galleries, and boy, is it gonna take me some time to wade through them all. I just love this photo. You have a very good eye for a photo, many would have passed this without a second glance, What a colourful carpet it is, and i love the way it is reflecting onto the tables, and there is just enough light on top to show some texture and detail. I wonder how many would want to crop some of the RH side because of the dark area at the bottom. i know quite a few who would, but I love it just the way it is.
Phil Douglis29-May-2005 19:15
Thanks, Catriona and John, for bringing your insights to this image. For me, the making of this image was a great joy. The color is rendered here in three different ways -- in the illuminated portion of the carpet, in the shadows, and on the surface of the wooden tables. This triple dose of color is subtle, as you say John, but it's also essential, because it infuses the image with its energy and much of its meaning. You both grasped the importance of color, and how light guides the eye through this image. I appreciate your insights, Catriona, regarding the role of contrasts here. This image is indeed a series of comparisons, all of which contribute to what I am trying to express with this photograph.
Guest 29-May-2005 14:39
I like the way that you have abstracted this image by coming in close and emphasing the bright colours in the carpet. Your angle picks up the reflection in the dark wood which in turn reflects back onto the carpet - the interplay between old and new, traditional and modern, dark and colourful - one can't exist without the other.
Guest 29-May-2005 06:31
Very nice Phil. Holding the detail in the highlights is a must. The colors in the carpet playing as a reflection in the old wood are subtle but add greatly to the image. The first look is to the bright lower left corner then the eye travels in a diagonal up to the asoftness of the reflecting colors.
Phil Douglis29-May-2005 04:40
Thanks, Kal. I always use the spot meter, and I generally focus and expose on the brightest spot in the frame. Keeping the shutter button depressed halfway, I then recompose the image. In this case, I exposed on the brightest spot in that carpet, to make sure nothing will burn out. The rest of the image is then underexposed. In Photoshop, I use the Shadow/Highlight control to bring back the detail in the shadows, and then fine tune it to get it exactly as I want it. Hope this helps. Again -- always use the spot meter to hold detail in the highlights. And then bring back detail in the shadows to the degree you need to later in Photoshop.

You are right about dimensionality, Kal. That is what drew me to this subject.
Kal Khogali29-May-2005 03:44
I love this Phil. It is three dimensional in it's effect. I think the key is how you have retained the detail in on the wood, while not blowing out the carpet and visa versa, and meanwhile retained the shadow detail in the carpet. Where did you spot meter from a technical perspective? If I had tried to take this picture I would Have had a mass of black and a beautiful carpet or visa versa. Stunning, as usual.
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