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Phil Douglis | all galleries >> Galleries >> Gallery Twenty Two: Black and white travel photography – making less into more > Exit, Shwedagon Pagoda, Yangon, Myanmar, 2005
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01-FEB-2005

Exit, Shwedagon Pagoda, Yangon, Myanmar, 2005

Late afternoon visitors depart from Shwedagon's massive lobby. Thousands visit the huge temple complex from morning to night every day. The original color image, bathed in golden evening light, is strikingly beautiful, and made a perfect picture to end my sequence on a visit to Shwedagon in my Myanmar Travel article on Worldisround.com. You can view it at: http://www.worldisround.com/articles/139134/photo13.html

The basic concept of the image itself is to show less and say more by using backlighted underexposure to create an abstraction. The color version places all of these people, including the lone child who seems somewhat lost at the bottom, into a context of golden warmth. Visitors generally feel spiritually fulfilled after a visit to this incredibly beautiful gathering of Buddhist temples, and the color version fits that mood well.

This black and white version, on the other hand, is not as beautiful as that color image. But in some ways it may involve the imagination of the viewer to a greater degree. Without the golden light reflecting off the tiles, we are free to focus primarily on the varying forms. All of them, except the child, are wearing the sarongs that are the Burmese national costume for both men and women. In the color version, the child is an incidental afterthought. In the black and white version, however, the child becomes more of an issue. Is he lost? Why doesn’t anyone help him? What will happen to him? The image, which formerly was an exercise in symbolic mood, now asks questions and demands answers of the viewer. It is now a double abstraction, both in terms of the use of light and the use of color (or no color.) Rather than a just a good picture to use to end a sequence in a travel article, it now can stand alone as an expressive image that can trigger thoughts in the imagination of the viewer.

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Phil Douglis23-Dec-2005 23:49
Thanks for this comment, Diana. It is good to have you back in my galleries again. And you are right -- the profile of the woman in the center, who is oblivious to what appears to be the plight of the child, is an important part of this image. As for the bottom part of the image, it was not added on. I don't believe in making composite images in travel photography. I hope my images carry a ring of truth, and not fiction. But I am glad you noticed that the shadows above the boy are cut off. That is because the boy is standing on a step above those shadows, which end abruptly just above him. I was thrilled that the step was there. If it was not, the shadows would have merged into his head and destroyed the image. You have an excellent eye, Diana -- the whole point of the picture is rooted in the contrast between the light and the silhouetted figures. If not for that, there would be no image. Silhouettes are abstractions of facts. They leave it up to viewers to picture each person in their own mind. And black and white photography is an abstracting force as well. It can take a fact and make it into a broader symbol, thereby making the meaning of an image universal, instead of specific.
Guest 23-Dec-2005 22:40
I like this image a lot because firstly it is in black and white, and I feel there is a lot of emotion in black and white. Secondly because I rather like the profile of that woman's face in the centre. I am a bit confused about the boy at the bottom though. I notice the shadows of the people above him are cut off. I was wondering if the bottom part of the image was added on. I like the strong contrast between the light on the floor and the silhouetted figures, especially the man on the right that has good movement in the bag he is carrying.
Phil Douglis12-Dec-2005 03:59
Thanks for coming back and adding to your comment on this one, Nile. I saw the little boy shift from context to subject as I converted this image from color to black and white. Everything changes because of it.
Guest 12-Dec-2005 02:32
Sillhouettes can make for strong story telling as it has been done here. The subject matter and the elements are reduced to light and shadow and from this we can make up our own story without it being given to us completely. This is what intrigues me about this photograph. It is the little boy who is standing and looking sideways while the others are in a hurry to get to the light. It makes me wonder why he is stopped and what he is looking at. Imagination and a touch of mystery is what it is all about.....
Phil Douglis12-Dec-2005 00:28
Glad you see beauty in this image, Nile. An image can be beautiful -- that is, please the aesthetic senses -- yet still be thought provoking, as in this case.
Guest 11-Dec-2005 23:28
All the right things have been already said about this image. All I can say is simply beautiful.
Phil Douglis30-Sep-2005 15:56
I agree. I think I've made the right choice here for my intentions.
Guest 30-Sep-2005 14:11
Like Vera mentioned, the first thing I noticed was the missing heads in the shadows. Even the "color" version is monotoned (black and gold, instead of black and white). I really love the abstract feel to this one. As to which version is better, I guess it depends on what you wish to convey. If it is meant to represent "religion" then the black/gold version is more successful, especially for Asian temples, where gold is usually found (and the shadows represent their souls). If the photo is meant as a scene, not tied purely to religion, then the BW works much better, as the gold would not be needed as symbolism, and we thus focus on the people and their interesting shadows.
Phil Douglis23-Apr-2005 23:16
I welcome you back to my galleries in your old form, Zandra -- your analysis of this image is a course on expressive photography in itself. To test the validity of your guesses, you really should see the color version by just clicking on the link in my caption. You will find that your hunches are dead on right! I agree with all of your points, but had only the first in mind when I converted this image from color to black and white. It now calls attention to the body language of the people instead of the golden floor they walk upon. As for the backlighting, and the walking towards the light and thus finding hope after death, it definitely would not have said that as strongly in color because the color was just too forceful an element in itself. The golden light calls attention to itself for its own sake, and at the same time obliterates any thought of this image as the "gates of heaven" because it is too real and heaven, to many of us at least, is not a real place. Heaven is but a concept, existing in our minds, not reality. Yet because this is image is now a study in abstraction, much is left to the imagination, and I can see how you came to such an interpretation. I also was moved by your comment on the shadows here. In black and white, they do tend to acquire a life of their own. In color, which was real, such thoughts are discouraged.

I was particularly impressed with your reference to control. Black is a controlling color. It was present in the color version, but the color took away its grim meaning. I also was moved by your thoughts about that child -- you have probably read a lot of yourself into him. We have all doubted our own value at times, so why not him as well? You conclude with a touch of evil -- the child is vulnerable, alone, and appears lost and haunted. He is hardly noticed in color, which kindles thoughts about this golden palace, rather than the people. Thanks again for this remarkable comment, Zandra, and welcome back in full force!
Guest 23-Apr-2005 20:15
I belive ther are several elemnts in thsi picture that is worth attention and that gives meaning. To start with, all colour has been removed which leave out any distraction it could have added to the composition. In colour it woudl have been very easy to look on to one individual, maybe wearing bright coloures, instead of the gropue of people. Pretty much in the same way as the train distracts the viewer from the man in my colour version of "In the subway II". In the B&W version you wrote "Rather, the man in the black coat becomes the focal point, and this image speaks more of loneliness than it does of haste." That line alone showas how colour vs B&W can change the meaning and how we intepriate an image. Removing colour information can be a powerfull too. I have not seen the coluor version so i can only guess that B6W becomes a bit more moody. This also comes from us being able to focus on the composiiton and meaning of the details rather then on the colours.

Second item to point out is the use of light. The dark going towards the light. A classic for showing hope, and especially hope after death. One could intepriate that they are walking towards the gates of heaven. In this sence, the image is given a religious intperitation. One that i am quit sure might have beenmnissed if this was in colour.

Third point. I find the people some what abstracted by ther own shadows. I am not sure why. Maybe, as ther shadows are simular to reflections one can ask...what is real and what is not. If i were to reach out my hand to try and touche them...woudl they be ther or are they mearly ghosts, shadows of a past time. Thsi to, woudl for sure have been missed in a colour version as that would clearly line out the difference between shadow and man. One can see the difference now as well, but with only a litle imagination it is possibel to tkae it further.

Fouth point. By the framing you have used, the dark columns on each side i get the feeling that the people are controlled. They must meet a sertain conduct and behaviour. Don't run, don't walk to slow, stick to the rules, dont deviate. You can be an individual, but don't act out your own individuality to much. Colour voudl not let me think in these terms either as in colour they would all become individuals. Distinguised by ther clothes. Now, they are all one and the same. We woudl not notice if they switched places. Tehy move as part of a collective.

Fifth point is what makes this to a mater piece in my eyes. It is the boy staning in the foreground, turned towards the right. He seems to be in deep though. In my mind, this young boy wonders...what direction to take. Should he be walking towards teh light and follow the group or should he turn and walk in to the dark. That is a strong incongruitie for me. He is a young boy, a child, innocent. What can he have done that causes him to think weather or not he belongs in heaven or in hell. What is haunting him, why is he not sure of his own value. Why does he think less of himself. For sure, he is most likely more innocent that any of those walking prodly towards the light. Has this young boy done some develsih act himslef...or has someone else done a develish act to him, to make him lack this confidence in himself. Who is the shadow to the left. It seem to be some kind of evil being watching over this boy. Can he be the reason for the boys doubt, or is he just an innocent by stander...

Hm, long time since i let my mind flew friely like this. Feels good. I think i am on my way back to the same old me :-)
Phil Douglis09-Mar-2005 18:22
I never noticed that before you mentioned it, Vera. That is indeed chilling. You can now really see them as "lost souls" while I now see the image as subtly disorienting, and still built around the lone figure of a lost child. Lost seems to be the operative word here. It becomes a chilling image either way, a far cry from the warm golden color version, color which completely overwhelmed those lost heads in the shadows.
Guest 09-Mar-2005 11:33
Another thing that enhances my feeling of these people's being lost in religion.... all their shadows are without heads!! This really sends me a chill... v.
Phil Douglis09-Mar-2005 05:41
Once again you and I, so often on opposite sides of the photographic fence, see eye to eye and heart to heart on an image. I preferred the color version of this shot as a travel image as well, because it expressed the essence of Shwedagon as a great gathering place of worship, and all that we associate with worship. I also agree that by turning it into a black and white image the meaning shift dramatically, depending upon the context of the viewer. You, dear Vera, are going for your advanced degree in philosophy, so it does not surprise me that you would see this black and white version as people "leaving the church" -- both literally and figuratively. Whereas I see the little boy at the bottom offering a dramatic new focal point for viewers to question.
Guest 09-Mar-2005 04:39
As a travel photo presenting a religious venue, I prefer the colour version of this image, because the golden colour fills the place with warmth & peace & love, and thus these people are as if blessed by their religious faith. Whereas in this b&w version, what I feel is that these people are 'losing their religion' -- it would therefore be a very effective image if this were the message you aimed at expressing (or in my case, an ideal image for my philosophy of religion class!). v.
Phil Douglis28-Feb-2005 04:44
Glad you were drawn to this one as well, Bruce. Black and white does take up residence in the imagination, doesn't it? The color version was beautiful, but the golden floor swept all before it. By removing the golden floor, we are left with this cast of characters! What we do with them is up to our own imaginations.
Guest 27-Feb-2005 18:20
This too, is a wonderful and engaging image. In its abstraction, all of the people become players in our imaginations. My attention went very strongly to the young boy and his posture of puzzlement.

Phil - this is an inspiring photograph.
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