1935 - One Step Too Far II

2012-02-03

Here we are, the same escalator as yesterday, in an image freshly taken today. Normally I don’t do that, but as this image is, if it were the only one, I would certainly have chosen it, even if I had had a bigger number to choose from. Compared to yesterday’s image I probably like it better as well, thus there is no question, this is what you get today 🙂

The Song of the Day is somewhat used as well. I already had “One Step Too Far” from the 2001 Faithless album “Outrospective” in a rather uninspired “397 – One Step Too Far?”.

See Faithless featuring Dido in the official video on YouTube.

There are 8 comments

Juha Haataja   (2012-02-03)

The corners! (All four of them!) - A rather fine composition.

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andreas   (2012-02-03)

I'd hate to disappoint you, but although all four corners were pretty close, none was perfect. "Transform / Skew" is your friend 😉 I do this regularly. It makes such a difference in the final image and if I don't tell, people even think I can hold it like that. Well, I can, but not at the second attempt with frozen fingers 🙂 Three corners are no problem, four, well, it's like trying to make an old table stand perfectly flat. Only harder.

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Juha Haataja   (2012-02-03)

Well, even if it is a different kind of magic, it works!

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Ted Byrne   (2012-02-03)

Is it possible for two photographs to take the same street photos? Is it possible for the same photographic artist to do it? How reproducible are the same images from the same photo by different post processing artists? How possible are the same images from the same photo by the SAME post processing artist? Even if only POV was our only tool - the only variable... I'm guessing that my idea/feeling would never wind up inside your camera if we prowled the same spot at the same time. Which brings me to the cosmic question I've often asked artists from every genre (fiction, screen plays, musical composition, performing arts, painting, sculpting, and yes... photography... The question? How do you know when you are done? How do you know when you've exhausted all interpretation of an idea... of a feeling? Of all ideas or feelings which might be focused upon just the decision to identify a POV? Here you show us two days at the same site. Proving my quandary... How do you know when you're done? Done even with the ideas/feelings that you can imagine in just this site? How? Hmmmmmmm?

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April   (2012-02-03)

This creates a wonderfully visceral feeling of "eek!" There seems to be a theme of free fall in your recent work, perhaps because you're moving yet again? 🙂

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andreas   (2012-02-07)

Coincidence. I take what I can get 🙂

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flo (tonebytone)   (2012-02-05)

Oh my, I do feel much more disoriented with this 2nd image than I did when looking at the first. I'm not sure I'll ever again approach as escalator without thinking of this image! Ted, how do we know when we're through? Well, if we run out of time and must move on our way, then we'd be through for that session that day, right? But then, ah, post processing calls - and THEN how do we know when we're through? We can keep on keeping on in the pp chair forever - if our physical bodies didn't force us to move out of this chair, lol.

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andreas   (2012-02-07)

Good. Exactly as you should feel 😄

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