Café Discussion, Zagreb, Croatia, 2005 by Phil Douglis

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05-SEP-2005

Café Discussion, Zagreb, Croatia, 2005

I used my spot meter to base my exposure on the brightest part of this image, the colorful umbrella. The men at the table were in deep shadow, and because of my exposure, they become completely abstracted. The pointing finger of the man at right becomes the most important thing in this picture. If I had exposed on the man, or used the standard “averaging” meter choice, I would have shown more detail on that man’s face, and the power of his emphatic gesture would be diluted. By abstracting him, I am able to go beyond description to intensify the symbolic meaning of this picture. It becomes more universal in nature, and less specific.

Panasonic Lumix DMC-FZ20
1/1300s f/5.6 at 34.4mm iso80 full exif

other sizes: small medium large original auto

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Ken Zaret		11-Apr-2006 01:24
It didn't occur to me that the guy wasn't a shadow. Great shot, brilliant color/contrast.

Guest		05-Apr-2006 20:06
They say every tells a story, and you certainly got a good one here. Exposing on the umbrella certainly cretaed an aire of mystery with the shadowy figures, and what a stroke of luck having the main figure pointing his finger (although i bet you had been observing them for a while and he had done this action before, so you waited for the right moment)

Phil Douglis		07-Mar-2006 03:44
Thanks, Rod, for appreciating this photograph. I felt the same way -- the brilliant colors created by man suggest permanence, while the shadowy abstractions suggest transience. I am always trying to create a juxtaposition that triggers thought. Glad it worked for you here.

Guest		07-Mar-2006 03:07
Just as in your "shoeshine" photo, I love the abstraction here of vibrant colors and sharp details of the man-made items vs. the shadowed figure. It again gives me a sense of the cafe being permanenet, while the visitor is just a ghost, who's there temporary. It gives me a sene of he's just "a customer." Actually I just noticed the 2nd person being cloaked by the umbrella. It just gives me additional feeling that in this existance, the customer does not matter; they're temporary. The cafe is what is vibrant and alive (with people moving in and out of it). Very cool.

Phil Douglis		22-Nov-2005 17:22
Thanks, Rudi, for these observations. The discussion between the two men was not intended to be seen. It is only implied. It works on the imagination of the viewer to a greater degree in that way. I like your point about "graphical abstraction" here -- this image is rich in both content and form, a goal I try to keep in mind as I shoot.

Guest		22-Nov-2005 16:58
The tension i see comes from the contradiction between the bright colours of the umbrella and the café's walls on one side and the black, abstract shapes of the two men. A graphical abstraction. In spite of the importance of the pointing finger, which i see, i find it hard to see something in the discussion of the two men. His partner in the talk is hardly visible, just his arm. Still the finger points to something important. It tells us more about the picture than about the ongoing discussion. I like how the comments carve out that "luck of design" is a matter of time and a piece of work - which definitely is something to remember.

Phil Douglis		15-Nov-2005 17:37
You are right, Mo. The contrast between the vivid color of the umbrella and the abstract man works because the man becomes a symbolic figure instead of a specific person, while the umbrella remains tangible context.

monique jansen		15-Nov-2005 15:01
I try not to read other people's comments before commenting myself, but you could make a whole series of backlit abstracted people portraits, this one really works for me bcause of the contrast with the umbrella

Phil Douglis		12-Nov-2005 02:20
Thanks, Alex. I chose the use the horizontal frame because I wanted that table to add context. I also wanted to get as much of the textured wall in the picture as possible. I did not feel it was necessary to show the whole umbrella, so I abstracted it, just as I abstracted the people. I always shoot my pictures as both verticals and horizontals. In my view, the horizontal version expressed what I trying to say more effectively than the vertical version.

Guest		12-Nov-2005 02:12
When I saw this picture, I was thinking to take it vertically and to eliminate the small marble table at right. Also, I may take the full image of the umbrella. Had you ever tried this idea? or What is your consideration of the current composition?

Phil Douglis		11-Nov-2005 05:31
Thanks for your question, DZ. I was able to take such a long time making this picture because these people never saw me. I was using a 430mm lens from a distance, and would constantly vary my shooting stance -- shooting things in various directions but always returning to my prime subject. When I am shooting closer, with wideangle optics, I do the same thing -- I fiddle a lot, shooting from the waist, looking one way and shooting another, and pretty soon, my subjects forget I am even there. You are never invading anyones privacy in a public place. If they wanted privacy, they would not be out in public. I agree -- it hard to get over the shyness factor. But if you are passionate about making pictures, you subjects will usually sense it and appreciate your enthusiasm and interest. If someone sees you shooting and does not want any part of it, they will shake their head or hold up their hand and you will simply smile, say thanks, and walk away. It takes time to build the confidence in your pictures and in your right to make them. I have always looked at it as a joint venture. My subjects are often as excited as I am about the making of a picture. And sometimes my subjects are completely unaware of that picture, as is the case here.

Guest		10-Nov-2005 17:30
Phil, you state you took about 5 minutes taking 10-15 pictures. How do you take this much time without the subjects noticing you and becoming self-conscious about your presence? I always feel shy of taking pictures of strangers. The noticed presence of a camera often changes the dynamics of a scene. I feel like I'm invading their privacy. I'm afraid they will be angry or offended and I don't want to deal with a confrontation. Therefore, I have difficulty getting the assertivness to move close enough to a strange person or persons in order to get a good composition. If I do take a picture, I take it quickly and move on, fearing that taking too much time will make the subject feel uncomfortable with the prolonged presence of a stranger.

Phil Douglis		21-Oct-2005 19:55
Thank you, Mo. I hope you will begin to work with abstraction and color more in your own photos.

monique jansen		21-Oct-2005 10:43
Wonderful colors and of course a great abstraction

Phil Douglis		08-Oct-2005 00:04
Thanks, Ed, for the question. I don't see a entire photo in my head before I trip the shutter -- I see the possibility of a photo, and then work the image -- shooting it over and over until it reaches the level of expression I am looking for.

Guest		05-Oct-2005 02:21
Did you see the "picture" in your head first before you trip the shutter? This is what normally happens to me when I "discover" the "shot" that I look for. I didn't even know that it's called 'abstraction' :) ...Anyway, I've only looked at this photo so far and I like your galleries already ... can't wait to see the rest of them :) A most excellent site, I must say. I'd be more than appreciative if you can provide me feedback on some of my work as well ... I'm pretty much a self-taught and self-aware when it comes to photography so half of the time, I don't really know why I photographed things when I see them.

Phil Douglis		03-Oct-2005 17:09
I like your phrase "luck by design," Kal. That's all I had was time. My best pictures are made when I am not moving through a place as part of a group. We stayed in Zagreb for four days, and on only one morning was there an organized tour. The rest of our visit there was called "free time" in the brochure. Which meant that I could spend as much as necessary waiting, shooting, and shooting some more, until an idea worked. The only thing pushing me was the light itself. Shadows such as these do not stay around indefinitely.

Kal Khogali		03-Oct-2005 12:01
Luck by design again? How many people would take a single snap and call it a day, review the shot at home and then realise it had no emotion in it. But, hang around, take your time, keep taking pictures trying to catch the decisive moment and you get this....this is why I love street photography.

Phil Douglis		03-Oct-2005 01:39
Mysterious is what this image is all about, Ramma. The contrast between the "real" umbrella and the "imaginary" man is what gives this image its energy. I shot this scene for about five minutes, and made about ten or fifteen images. This one worked the best, primarily because of the man's gesture.

Ramma		02-Oct-2005 17:56
Such a mysterious Image. The man almost looks liek a Shadow.And the colours of the umbrella, are shown beautifully Its a very well executed photograph. Did you have to click a lot of photographs, to get this 1 ?

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