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Phil Douglis | all galleries >> Galleries >> Gallery Twenty Three: Stirring emotions through atmosphere and mood. > Peace, Luang Prabang, Laos, 2005
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21-JAN-2005

Peace, Luang Prabang, Laos, 2005

Some say that Luang Prabang is the most peaceful city in Asia. I found my own symbol for this peace in the upright hands of two Buddha images stored in a darkened corner of an ancient Luang Prabang temple. Three different factors work in tandem here to bring mood, atmosphere and meaning to this photograph. The contrast in color is astonishing – a blackened upright hand enters the frame from the left and stops just short of a brilliantly colored hand, its gold leaf and red paint eroded but still flamboyantly visible. The abstracting interplay of light and shadow is all embracive, creating a flow of black negative space between the hands that fairly crackles with energy. And finally, that energy is intensified because of a very slight blur due to camera shake. I had to make this image at one quarter of a second, hand held, in a very dark room. The very slight blur makes the hands seem to move almost imperceptibly, but they are moving. All of these factors give this image its sublime mood, which goes on to express a powerful emotional tone: peacefulness

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Phil Douglis18-May-2006 06:09
Thanks, Jenene, for coming to this image. It has been almost a year since the last comment here has been posted. I feel that this image is one of my most significant, because its emotional force. As you can see, many of my most articulate on line students have already had their say on this one. Your own take is every bit as valid as theirs. What you are all telling me is that this image is successful as expression -- so many profound and deeply moving thoughts have been triggered by this image. And that was my intention in making it. I can't say who is right or who is wrong, because their are no rights or wrongs. Each of you have responded emotionally, intellectually, and above all, imaginatively to the call of this image. For me, it was all about peace. For you, it is both question and invitation. Others see it in starkly different ways, largely dependent upon who they are and what they may be going through. If any image in this cyberbook qualifies are a work of photographic art, this one is an able candidate. The diversity of these responses validates its expressiveness. Thanks, Jenene, for joining the discussion.
JSWaters18-May-2006 05:11
It has been a long time since a comment was made here - I have read them all, but I find I still want to post my own reaction . I too, was stopped immediatiely by the dominant hand, even though it is a familiar image to me having lived in Asia for a number of years. I see that hand in its spiritual context, connected to Buddha, cautioning us to stop and follow faith, believing our way to enlightenment. On the other hand, pun intended, I see a push to question, to gently ask that accepted pathways give way to new trails. I see the tension between the two as an invitation to find my own truth, and still be respectful to the past.
Phil Douglis26-Jun-2005 04:16
By all means concentrate on the people, Alex. They are so open to the camera, including many of the monks we encountered. Have a great return.
Alex26-Jun-2005 01:37
Yes, I see what you mean about less can often say more now. Before visiting yours and Jennifer Zhou's galleries and learning more about expressive and incongrous photography I would have thought taking the Buddha through the doorway a waste of a photo. I don't take many shots, and often wait for the right moment, probably a money concious mind from my student days. However, I am opening up to new areas and look forward to trying new ideas. Thanks. By the way, to get an idea of scale of that buddha, there is an image in the same gallery (page 1, 1st photo) of the hall in which the Buddha is situated. Yes, for my next trip to Laos I actually plan to capture it's warmth through its people of which I don't have many photos. Can't wait.
Phil Douglis25-Jun-2005 22:11
Thanks, Alex, for adding this comment. I agree entirely with your view on the relationship between peace and power. As for your experience with the Cosmic Buddha, I wish you had actually made a photograph of what you saw at first -- a partial Buddha, hidden by a doorway. It might well have been more expressive than your shot of the entire Buddha because less often can say more. As for Laos, I agree that a return trip would be wonderful. It is a relatively unspoiled country, with honest and welcoming people.
Alex25-Jun-2005 21:41
I clicked on this image without looking at the title, and as it open up the first thought to me was 'Power', then I read 'Peace'. Indeed thinking about it, to have ultimate power is to have ultimate peace within oneself. Essentially enlightenment. I have seen many of these statues on my travels, and 'that hand' I know I will never tire of looking at. One of my most overwhelming sights oddly enough was seeing the Great Cosmic Buddha in the Daibutsen hall at the Todai-ji Temple near Kyoto, Japan. Seehttp://www.pbase.com/scubidoo/image/23465926 while it isn't a quality photo as I was still learning with my new toy, I had no idea that it was inside as the top of the door frame blocked it out when walking up to it because it is so huge. That feeling I got seeing it before me, I tell you, for the first time I was speechless. Seeing your image here I find it vey relaxing, and I think it interesting too that Marisa with her demons before can now look into the dark without fear. Two opposite interpretations actually coming round to mean one thing - Peace, and hence power back to the person standing before it. Something Marissa thought she didn't have at the start. It that Buddism, the power of having nothing? Thanks for it, but now I am left with a really strong yearn to go back to Laos, nowhere on Earth have I felt so at peace.
Phil Douglis18-May-2005 19:17
I shall always cherish this response, Marisa, because it continues to grant new life to this image, and in such a deeply personal way. I shall also adopt your concept of accepting opposite interpretations as different facets of a diamond, enriching and enhancing the potential expressiveness of an image. I find the more challenging an image is to my viewers, the more likely I am that to receive conflicting interpretations. Such conflicts often trigger substantive comments such as yours. I will never think of this image in the same way again, Marisa.

I am thrilled that my response to your initial comment has given you these new insights. Although I never wish pain on anyone, the painful feelings you shared with us here will hopefully bring lasting benefit to you. The golden hand, which I saw as a symbol of peace, but you did not, has somehow created a sense of closure within you, Marisa. You see here the authoritarian hand of your own father, and it prys open some painful yet revealing memories for you. In confronting these terrible memories, you tell us that you it brings light into the dark recesses of your memory, and what was once fear, is replaced by knowledge. It is I who must thank you, Marisa, for seeing this image in such a deeply personal way, and for being willing to share your discovery with us. If an image can be expressive and therapeutic at the same time, it is a worthy one. I launched this image into the world as a statement of peace. You did not see it that way. But if what you did see can help bring peace to your own mind, our conflicting interpretations have merged for your positive benefit. I am humbled and honored that my image has helped you to close your circle of darkness here, thanks largely to your own insights.
Guest 18-May-2005 18:22
Yes Phil, opposite interpretations not only are possible but, if they are accepted as the different faces of a diamond, they will definitly enrich and enhace the potential power of the composition itself.
I read again my comment. I read yours. And happen to me now to find the exact place of every piece! New eyes, new insight...
When I was writing the last words 'tremor of this hard universe', what I had in mind -but didn't write- was the word 'male': tremor of this hard male universe. That was the sentence in my mind. But, it seems that yesterday night wasn't ready for using that word. Something was missing.. but inside myself.
Today, I came again to read your response and everything was clear!!
Yes, the yin female world is missing here.. because it is represented in my shot '1984'. This shot, although I didn't take it, close the circle. Here, I see the rigid and hard hand of my father, blocking my way out. It is supposed that is the father the one that have to push his children to open their wings and fly away to their new and own lives. Instead of that, mine is the representation of prohibition, slavery, submission and abuse.
Now, finally, both are outside myself in this two graphic and terrible images for me. But, as I told you before, when you're capable of throwing light into darkness, to look right into the devil's eye without fear, sooner or later his power will be extinguished.
Thank you very much for helping me to complete the circle of darkness.
Phil Douglis18-May-2005 05:46
My cup runneth over. Jen, Zandra, Alister, Ruth, and now Marisa -- five of my most substantive analysts -- bring their views to this image, back to back. And each sees the image in a somewhat different light, depending upon the context that each brings to it.

I am delighted that this image has so amazed and provoked you, Marisa. And even happier that you have those contradictory feelings about it. These hands are symbols of peace, yet the way in which I have photographed them have abstracted and related them to each other in such a way so as to express energy. Yet you interpret them them as symbols of rigidity, prohibitions, restriction and impossibility. You are drawn into what you call a mirror game, as each hand replicates, yet also struggles against the other. They are indeed both right hands, but from different Buddhas. And we see no left hands at all -- so we are left with a Yang but no Yin.

Forr you this image is a study in the unexpected, of disfunction rather than function. Your interpretation of this photograph is quite different than my own interpretation, where contrasts in color, negative space crackling with energy, and the lifelike trembling of the hands due to blur, create what I feel is a sublime mood expressing the theme itself: peacefulness.

Can we reconcile these opposing interpretations? Did I somehow screw this image up as far as you are concerned? I don't think so, and I will bet that you don't think so either. You bring your own perception to bear on this image, just as I bring my own. My goal is to stimulate your imagination so that you can create your own image out of mine. You told me in another message this evening "when you set free a photograph, you have to know and accept that, from the moment it leaves you, it will start its own life, full of adventures, mysteries, goods and bads, lights and shadows." And that is exactly what has happened here.

If your image comes to a different conclusion than mine, all the better. It proves that this image is substantive, and fully capable of expression in the truest sense of that word. I thank you, Marisa, for opening yourself up to this image in this way -- your interpretation teaches us much about the dynamics of perception.
Guest 18-May-2005 02:58
Hi Phil,
this picture is amazing and provoking. I have contradictory feelings with it.
The Buddha images usually are the representation of a peaceful state of mind, of a well centered human being. But with this shot, and especially with your frame, I feel something completly different.
What shocked me are this two hands in such a rigid pose that I can't related them with the peaceful Budda. This two hands speaks about limits, prohibitions, restrictions, impossibilities. There is no way to go forward. These hands stop to us.
The light game enhace enormously this feeling, because I can see here the obvious and the subtle... the barrier that works in the darkness and those public and well known restrictions.
But now, I find myself in the territory of the conscious and the unconscious.. how did I end up here, Phil?? There, we also have this light/shadow game (again dualities, again oposites). And this image works as a fantastic mirror game: we are stopped by this huge lighting hand, that it is stopped as well by the almost hidden hand in the dark. Wich one is the real one and wich one only a consequence of the other, a mere reflection?
On the other hand (and I allow myself the joke in the middle of this 'serious' comment!), we have here two right hands (unless you have rotated the shot). And then again, the contradiction...
Right hands are guided by the left hemisphere of the brain, the one that represents the logic and language, our abilities to read and write, inteligence; is related to the Yang energy, the positive, the sun, male, day, conscious, life....
But here there's no left hand at all!! we are missing, something here.. we are in front of a non balanced composition. We are missing the perception, intuition, overall vision, symbolism, analogic thought, music, smell, graphic expression, Yin, negative, moon, femenin, night, inconscious, death...
Maybe, if I can look deeper, I can try to balanced it by the warm tones, those brownish tones that gives softness to the rigid hands.. and maybe also if I consider the little blur as a very weak tremor of this hard universe.

Phil Douglis22-Apr-2005 16:27
I am happy you can see this image in a new light (pun intended) today, Ruth. Once again, you learned something important about expressive photography. The meaning of an expressive image is not carved in stone. It is utterly flexible, and can change dramatically from viewing to viewing according to the context a viewer brings to it. Your context changed because of our discussion yesterday, and so the picture expresses its ideas to you differently today. Thanks for coming to this image again with an open mind, Ruth.
ruthemily22-Apr-2005 08:59
i think you are right in what you said about an interpretation being based on how we perceive darkness. i am terrified of darkness. that is probably why this image scared me so much - a rogue hand reaching out from the dark. coming back to it this morning, i can also see a more supportive meaning, that the 'main' hand is standing confidently in the light, and there is a supportive one behind it...kind of a "i'll catch you if you fall" meaning. you are right that it depends on my mind-set and thoughts at the time i look at a photo. i can see why yesterday i interpreted it in the way i did and why it shocked and frightened me to come across this image given the mood i was in and the thoughts i was having. today i am feeling and thinking different things, and i can see a more optimistic interpretation.
Phil Douglis21-Apr-2005 17:29
I am glad this photo moves you, Ruth, even for far different reasons than I intended. The symbols in this image are open to personal interpretation. I made this photograph and posted it in this gallery as an example of mood. To me it was sublime. It is very emotional. It represents peace to me.

Obviously you initially read the darkness as a symbol of fear and danger, whereas I see it as representing the mysterious and the unknown. How we interpret the meaning of symbols is an intensely personal matter. Some images express their meaning instantly. Others may take a while. This is one of those that makes greater demands on its viewers. Some of pbase's fine analytical minds are also struggling to make their own peace with this image, and that is a source of great satisfaction to me. It is rare that we can make images that stimulate so many different feelings and meanings.

Some come back to it again, Ruth, and perhaps you will come to see something entirely different. As your own knowledge of expressive photography grows, you might find this happening. The meaning of an image often depends upon the mind-set and context we bring to it. If we are used to seeing darkness as threatening, this image will be disturbing. A negative perception of darkness can affect or limit our own use of it in our imagery. But as we learn to interpret darkness in other ways -- perhaps as a source of abstraction, energy, mystery, or eternity -- a meditative, rather than a smothering, force -- we will come to read darkness in pictures quite differently. An image such as this asks questions and demands answers from its viewers. If you are struggling for those answers, keep working on it. They will come. Thank you for putting in the effort, Ruth. You will be rewarded many times over for that.
ruthemily21-Apr-2005 15:47
this has moved me incredibly but i can't find the words for how. i don't feel "peace" from it though, i find it quite disturbing. i can understand what other people see in it and why, but the darkness scares me. i think it's the reaching out of that hand from the dark. all i can see is a hand and i don't know 'whose' it is - that really makes me feel uncomfortable. it's like a shadow to the other hand. i really wish i could work out what this image is saying to me...
Phil Douglis08-Apr-2005 19:03
I am fascinated wit your interpretation of this image, Alister. Some will read that upright palm as "peace" others as "stop" and the meaning will change accordingly. There is no right or wrong way to read a picture. You will see what you will see, and think what you will think. Contradictory responses are not ucommon, and they usually lead us to thinking about things in new ways. I am delighted that my image has stirred your imagination to the point it has. That, to me, is the purpose of expressive photography.
alibenn07-Apr-2005 10:52
Another of your gems Phil. This image andhttp://www.pbase.com/pnd1/image/40175293 are both coming at similar subject matter from different directions, and giving out strongly different signals, to me at least.
This palm outward "blessing" for want of a better word, is a common theme in Buddhist art and icons. BUT here, for me, the abstraction and isolation of the hand, creates a more disturbing reality for me. Where the other image scores for me, is the humanity of it, a welcoming, safe haven for the spirit. This hand, whilst my brain tells me it is a welcome, because I know the meaning of these statues, my heart is fighting back, creating an uneasiness.
Now, I have no faith, but I have spirituality, my own accountability to the Universe as it were, and this image to me is saying STOP, very loudly. The other image says "hi, pop in for a cup of tea and let's have a chat"!!
The crunch of course is, I love this..Maybe not as much as the face image, but it cries out much much more about religious devotion; rules, written or taught, faceless authority, and transposing the meaning onto other faiths, the potential vengeful nature of some peoples God. I suspect this is not my last comment on this cracking image..
Phil Douglis04-Apr-2005 21:54
I have been waiting for your comment on this image, Zandra. Knowing the mysteries and moods of your own work, I knew this image would have special meaning for you as soon as I made it. I felt similarly about Jen -- and she, too, has commented here, not once but twice. I am thrilled that both of you have gotten so much out of it.

You are obviously very much involved with the tension I created here through the use of negative space between the two hands. You attribute feelings and ideas to that tension. I thought the mood here was primarily one of peacefulness. Both you and Jen have struggled to come to grips with this picture, and go far beyond my own hopes for this image. And for that I am grateful as well. If an image can make the mind work, as well as the emotions feel, and the imagination wonder, it is doing its job well. Apparently this image has done all of this for you, Zandra. You are wondering what is up in that dark corner. You are emotionally relaxed, and intellectually stimulated.
I can't begin to tell you why you feel, think, and wonder here as you do, but certainly thank you for putting in the time and work that is needed here. You gave yourself to this image, Zandra, and the image, in turn, gave itself back to you.
Guest 04-Apr-2005 17:52
I have been looking at thsi picture many times no Phil, and i can't really come to grips with it. The colou are warm and inviting. The conext is clearly spriritual. There is a dark corner which sem to hinde something. Ther is apose of the hends that says STOP! I keep looking at the dark area between the hands. It is as if you have composed the image dilibretly to for my eye to move in that direction. teh first hand tells me to go past the light golden area of teh statue and the second hand pushes me towards the black empty space. Yet, it does not feel frightning or empty as dark space normaly do. The hads are not pushing me to this point because theya reevil. They are more like a mothers incuoregin and suporting hang. It pushes me to disvoer and not be scared of the unknown, to dare taking new directions and see what lies beond the curve. They are ther to catch me as i fall just as theya re ther to push me wheni stand still. Me and my extensive strange analyzis again ;-)
Phil Douglis14-Mar-2005 20:39
Thanks, Jen, for this perceptive comment. You are right-- there are times where words fail us when it comes to explaining why a photograph is working for us. Using your heart as your guide is perfectly acceptable, and times preferable. As for expressing that sense of place, I agree with you that the line between making pictures that turn out to be "shit" or "gold" is very thin. Indeed, what you look for to express that essence is critical. We have many choices available in light, time, and space, and we must choose the ones that will work the best. How we accomplish this is a matter of our experience, and the time we have at our disposal to make them. I am glad you find this image to be "golden," Jen, both literally and figuratively.
Jennifer Zhou14-Mar-2005 05:59
Thank you for the long response, Phil. I found this image contains something that beyond my words, I can't really express it perfectly but I do feel that in my heart. You also taught me something very important, I imagine I am inside a great temple, I wanna express the sense of this place, what I am looking for is critical, the choice would decide either the picture is gold or shit. In this case, you certainly found this particular thing under this particular lights that make this picture truely gold!

Jen
Phil Douglis11-Mar-2005 21:40
What a kind and thoughtful comment, Jen. It is always a very special event for me when one of my most treasured images is singled out for comment by one of pbase's truly accomplished artists. It is not surprising to me that you would be the first to comment on this image, either -- it requires work on the part of the viewer, and those who comment on it must be willing to put some thought into it in order to discover what lies within. Your own images show us how much thought you put into them. And here you show me that you are willing to put an equal amount of effort into reading an image that does exactly what you suggested to me in another comment -- it works because of the emotions triggered by both its atmosphere and mood.

You focus here on the images greatest strength, which is its simplicity. Less is more, indeed! The mysterious, abstract lighting is what drew me to it. I wanted to make more than a picture of a work of religious sculpture. I wanted to isolate just that part of it that expressed its essence: peacefulness. I also wanted the mood to be deeply spiritual. You are right, Jen -- although neither your nor I bring our own spirituality to this image, both of can sense the visual energy that crackles here. We feel it in that slightly trembling hand, and also in the negative space between that hand and the faintly seen hand of another statue reaching out in the darkness.

I found these dusty, flaking Buddha figures stacked in the corner of a storage area in the darkest reaches of a temple. They were obviously constructed centuries ago for another purpose, and now are at rest and almost forgotten. Amazingly, I found more beauty and energy here in this dusty, almost forgotten storage area, than I found in many of the dazzling gilded Buddhas, worshipped by hundreds on the altars of the great temples of Laos and Burma.

I can't think of a stronger image to represent this gallery, Jen. It has quite an emotional tug to it -- and that is the function of the mood and atmosphere I have been able to interpret for you. There is not much to see in the image itself, but there is much to feel, and even more to think about. Thank you for coming to it, for being the first to single this image out as something special. You are setting the stage for the other comments that I hope will someday follow.
Jennifer Zhou11-Mar-2005 15:01
Phil, I have to say this picture has a very strong mysterious occult strength in it and that is what draws my eyes and my heart as well. Also this is a perfect example of LESS IS MORE! The lights and the object can't be simpler but the image is so powerful!

It is like this religion thing, something is more like a feeling in your heart. There is a great depth of it and so does this picture. The shape of the hand is so smooth, it is soft and tender, but the real power, enengy or strangth are hiding inside, and I feel it strongly. As a person has no religion, you make me to feel it and to believe it is a real thing. Oh, this picture fulfills every goal you set out for this gallery. Just wonderful~ Thank you.

Jen
Phil Douglis02-Mar-2005 23:43
This is among the most spiritual images I made on this trip to Southeast Asia, Mo. I worked on it for quite a while, trying different shutter speeds, using the spot meter to "paint with light," finding just the right amount of negative space between the two hands. This particular photograph benefits from just enough subtle blur due to the camera shake caused by the very slow 1/4th of second shutter speed. It gives us a clean impression of the hand, but adds a touch of spiritual energy to the image to intensify the atmosphere and mood and create an emotional response.
monique jansen02-Mar-2005 12:12
wonderful imagine - abstracted, atmospheric, mysterious.
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