Antony Gormley does get around!
This work, and hence the photograph, though is different to much of the other examples of the artist's work.
The hazy light has provided a bright, neutral backdrop for the fine, dark lines of the piece. Crouched and squatting, it resembles a turtle on hind legs.
What works well is the silhouete shape of the sculpture, the dark harbour wall and those seemingly tiny humans that importantly, provide the measure of scale that makes the photograph so successful.
Some of the best examples of statues in this competition were those against a background of sky. This particular example is excellent. The soft hues of blue, purple and orange are beautiful. The glow of the setting sun adds a wonderful gradation of tone. To cap this off is that rogue fluffy cloud lower-right of frame that acts as a malevolent shape seemingly ready to pounce upon Christ.
What an excellent idea. Capturing the subject in the reflection of an adjacent pond suggests this photographer is exploring their subject and environment in detail. This is exactly what serious photographers must do: look, look hard. Unless you want to make ordinary, everyday photograph, you must thoughtfully apply yourself to the scene at hand.
I love the emerald hues and particularly that the subject matter was not immediately apparent. As a viewer I was forced to look hard myself. Thankfully, I was rewarded with the discovery of an excellent photograph.
I like the way the photographer has included the bench. The statues gaze one way, the bench another: like two different birds atop a aerial who happen to both perch there.
The distant mountains provide further information of the landscape and scene more generally. Notice how we are attracted to the statue and that the line of clouds leads us down and to the right, which in turn links us to the mountains and then the bench.
The Albert Memorial is a beautiful structure in a picturesque part of London. This photograph expertly captures the structure in soft, moody evening light. The balance between the remnant daylight and brightening artificial light is perfect. The composition of the centrally positioned memorial between the wispy flank of trees is also perfect. Collectively, this balance of compositional structure and atmospheric light ably reflect the sombre nature of the memorial.
Many of the statues and memorials tackled by our Photocrowd participants are well known and photographed by millions. In this instance, whether my chance or plan, the photographer has captured a special moment when the statue is half-lit by direct sunlight whilst also providing a shadowed profile rendition perfectly against a column behind. Thus, we have two impressions of the same object. I also appreciate that the balance of tones: light to dark and in between, is perfect (highlights not over-bright, shadows which leave subtle detail to peruse. An excellent photograph.
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Brief
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A tour of any inhabited area will usually reveal some statues or monuments that have been raised in commemoration of people and events, or as creative expressions designed to enliven a space and feed our imaginations. In small villages there are often monuments to those who fell during wartime, and in our big cities to those who lead them. And in recent times there has been a renewed focus on how historical figures achieved their fame and wealth, and earned themselves a spot on a plinth. Statues and monuments of all sizes, ages and shapes, of real people, or no people, are welcomed.
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There were many examples of photographs featuring Antony Gormley's installation at Crosby Beach. I particularly liked this one.
The single figure is positioned centrally. The soft, diffused shadow is all that prevents the piece from seemingly floating in a void. I particularly like the subtle hues of yellow, orange and blues. Yet there is plenty of detail in the darker shadows of the figure.
I appreciated reading details about this monument in the photographer's notes (I urge all photographers to make notes of their work, as it provides viewers with additional insights). The landscape is difficult to place geographically. The derelict structure, the leafless foliage, and the skeletal figures, provides clues, but nothing definitive. To learn that it is in Britain was a curious discovery (look it up for further information). I was struck by the relationship of the figures' embrace, the decrepit building and the monchrome landscape, all lit by bright, clear daylight. It is odd and disturbing. Compositionally, the position of the statue to the building provides a note of tension: what, if any, is the relationship between them? The photograph made me dig deeper to possibly find some answeres.
Gormley's Crosby Beach installation once again. This example, however provides added feature. Firstly, the slow shutter speed has created a soft, willowy space for the solid darkened figures to rise from. The figures gaze with us to the horizon, where a series of skinny towers stand against the hazy sky.
Thus, we have a surreal landscape of odd, human-like creatures, futuristic towers amidst the swirl and muted tones of sea and sky. Wonderful.
The relaxed pose of the statue is perfectly offset by the soft pre-dawn light. There is something quiet, calming and balanced with this scene. Though we know it is a statue in stationary pose, it seems very human: quietly gazing at the subtle changes of light, sky and sea. Compositionally, this is perfect. Adopting a low camera position has minimised distracting detail (such as the horizon line of sea and sky and vertical railing lines) and reinforced our view of the key elements: the figure, the sky and the leading line of balustrade.
Another example that both intrigued and informed me. What began as a simple home-grown message has, over time, established itself as a permanent marker and memorial of events past.
This photograph grabbed my attention (as all good graffiti should), and would not let me rest until I learned its message. I appreciate its simplicity: the bright red slap of paint with vibrant white text on top. The surroundings, darker by comparison (naturally occuring, or perhaps skillfully but deliberately muted in post-production), help force the remnant wall and its message forward.
A simple but powerful photograph that nobly befits its subject.
