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Phil Douglis | all galleries >> Galleries >> Gallery Thirty Three: Using light and color to define and contrast textures > Dead Truck, The Boneyard, Amboy, California, 2006
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11-FEB-2006

Dead Truck, The Boneyard, Amboy, California, 2006

The Boneyard is a place where old vehicles are unceremoniously left to decay. The setting sun brushes its rusting hood into a soft velvet sheen, and at the same time illuminates its trim and rear window in a matching glow, evoking a timeless mood. I used my spot meter to create this mood by exposing on the brightest spot in the image – the chrome strip. This darkened the picture, helping me to contrast the pitted texture of the chrome to the smooth texture of the hood, and then compare both to the translucent opaque color in the windshield. I designed this image around a series of curves. The curve of the tightly cropped chrome hood ornament echoes the curved shadow in the windshield. The gentle curve of the hood itself echoes the curve of the windshield. Within the arcs of these curves, it is texture and color that brings both mood and meaning to the image.



Leica D-Lux 2
1/1000s f/6.3 at 6.3mm iso80 full exif

other sizes: small medium large original auto
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Phil Douglis16-Sep-2006 21:32
Thanks still again, Gil, for this graphic comment -- from now on, I will always think of that sheath of chrome as a tusk and this scene as kind of an elephant graveyard. Like the mastadon and mammoth, these old trucks are now memories. As for challenging you to make wonderful images, that would be my pleasure.
Gil Hidalgo16-Sep-2006 12:26
Like an elephant graveyard, this picture give's the impression that the truck's tusks are laying to rest at the left of the frame as the rest of the body just sits there in peace. It's modern architectural rubish immitating nature and it's creatures. perjaps I am reading too much into the picture, but images like me challenge the TAR out of me to find wonderful images no matter where I go. Phil, once again, you have opned your classroom.
With highest regards,


Gil
Phil Douglis06-Sep-2006 01:34
Yes, Yves, the long descending curve makes this image sweep back into time. It perfectly complements the curves of the windows and the curved shadows within them. It is one of the most lush, velvety images I've had the pleasure of making.
Yves Rubin06-Sep-2006 00:37
The composition in this image is amazingly well done, the long descending curve seems to tell the story of the car, the glow of the rust makes for a wonderful image to look at!
Phil Douglis29-Aug-2006 19:24
New crop posted, Larry. Thanks for spotting the problem.
Phil Douglis29-Aug-2006 17:34
Thanks, Larry. Yes, the composition of this image is a bit off kilter and squeezed. But that it what I wanted. This is an image about inexorable decay, and I wanted the car to be slowly slipping out of the frame at left. To me, composition is not about rules, or pleasing the eye. It is creating a structure for an idea, and in this case, the structure that I have created works to stress the idea I am trying to express. As for that wedge of blue sky, it was supposed to have been cropped out. Thanks for calling it to my attention. I tried uploading a cropped version, but pbase is having server issues today and will not process my uploads. Perhaps I can post a corrected version shortly.
Guest 29-Aug-2006 13:24
Not sure about this one...the shapes and color tones are pleasing, but the overall composition seems to be off balance. Maybe that was your intention? Also, the little wedge of blue (sky?) in the upper-right corner seems out of place. If I cover it with my finger, the picture works better for me.
Phil Douglis18-Feb-2006 20:31
Thanks, Azlin, for pointing out the role that shadows play in creating mood. As I demonstrate in this image, as well as in my gallery showing how the interplay of light and shadow create meaning, the lack of light in an image not only simplifies its structure, but it also calls attention to those parts that are illuminated, such as the strip of chrome that draws the eye here.
Azlin Ahmad18-Feb-2006 09:15
Phil, you've shown that it's possible to see the beauty in everything. I've seen many examples of moods being created by light, you've shown it in reverse, the creation of mood by lack of light. Wonderful image, Phil. I also like how the photo forces our eyes to travel in the direction of the chrome.
Phil Douglis18-Feb-2006 01:12
Carol -- I remember talking with you about my intentions as I made this image. Darkness is as important here as the light. The past is a mysterious place, and that is where this journey leads. Tim -- I agree. This image was the essence of what Route 66 means to me, the car, the light, the curves, the color. John -- I used the Leica's 18mm 16:9 aspect ratio for this shot. It worked perfectly. (The FZ 30 offers it as well, but not at 28mm.)
John Reed 17-Feb-2006 23:10
Aha! I see you like that 16:9 aspect ratio too. I love it, and use it often with my FZ30 for scenes like this. Nice photo.
Tim May17-Feb-2006 22:39
Your point of view takes us on a journey into the image, into our memories of the time of Route 66's heyday, and are a metaphor for the journey of Route 66 itself.
Carol E Sandgren17-Feb-2006 22:35
I had been anticipating this shot posted as I was right there next to you when you made this photograph. I love the direction of the chrome fender that leads your eye to the now less important windshield, with it's own directional shadow of the wiper blade. So refreshing that you didn't "center" the chrome too. The darkness adds a lot of mystery especially as the question of WHAT or WHO is inside that cab. The color of rust and the deep rich tones give this a nearly illustrative quality.
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