This guy is ∩O˥

[Gianluca Drago]

Say: 'Hi, ∩O˥'.

 

[Peter Roberts]

Hi, ∩O˥

I can't make up my mind about the reflections in this one, Gianluca, not sure whether they make it or break it

 

[Gianluca Drago]

Thank you, @Peter Roberts, for your time. And for having said 'Hi, ∩O˥'

I’ll try to explain what you’re seeing here. It was a morning I had set aside mainly for photographing reflections in shop windows. I’ve always been fascinated by those reflections, especially on a sunny morning.

I believe this was a LOUis Vuitton shop—you can make out “LOU” in the image, but reversed.

It’s a triple reflection:
1- the photo is taken from outside, where you can partly see the buildings reflected on the glass along with the scene inside;
2- that interior is itself mirrored on a reflective, slightly distorting ceiling. The shop assistant, stretched, sliced, and warped by the lines of that reflective surface of the ceiling, ends up looking almost like an alien—someone who ought to have an unpronounceable name.
3- Finally, I turned the image upside down, rotating it by 180 degrees.

The title of my post was a small hint to help decipher the puzzle, writing “LOU” in reverse as “∩O˥”.

But you had probably already worked all that out.

It was simply meant to raise a smile, with no artistic pretensions.

 

[Tony Warren]

Another intriguing and engaging image Gianluca. I can't make out any letters but the composition hangs together very well with the man on the right third and a strong bar of dark colour on the left and the curve of skylight frame pulling the eye into the main component. All this I believe ocmes as second nature but it is what I would have said when I used to judge at clubs. The colours are good too and when the eye comes to rest there is plenty for it to settle on with man and the displayed bags.

 

[Gianluca Drago]

Another intriguing and engaging image Gianluca. I can't make out any letters but the composition hangs together very well with the man on the right third and a strong bar of dark colour on the left and the curve of skylight frame pulling the eye into the main component. All this I believe ocmes as second nature but it is what I would have said when I used to judge at clubs. The colours are good too and when the eye comes to rest there is plenty for it to settle on with man and the displayed bags.

@Tony Warren, Thank you very much for such a thoughtful and detailed reading.

It’s particularly interesting to hear your take on the composition, especially the balance between the figure on the right and the darker area on the left (I wasn’t consciously applying the rule of thirds), and the way the curve draws the eye in — I have to admit those aspects weren’t deliberate on my part, so it’s great to see them articulated so clearly.

You’re absolutely right about there being quite a lot for the eye to settle on once it comes to rest. Though I see it as a flaw, I take it as a compliment.

And thank you as well for mentioning the colours — they were part of what initially caught my attention.

I really appreciate you taking the time to share such a careful critique.

And the letters... sorry, they are not as readable as I'd liked, I know. They are printed on the desk behind the legs of the human figure.

 

[Peter Roberts]

But you had probably already worked all that out.

Not all of it, I must admit. I realised there was a lot going on but certainly not that much.
Looking forward to more of the same.......

 

[Tony Warren]

@Tony Warren, Thank you very much for such a thoughtful and detailed reading.

It’s particularly interesting to hear your take on the composition, especially the balance between the figure on the right and the darker area on the left (I wasn’t consciously applying the rule of thirds), and the way the curve draws the eye in — I have to admit those aspects weren’t deliberate on my part, so it’s great to see them articulated so clearly.

You’re absolutely right about there being quite a lot for the eye to settle on once it comes to rest. Though I see it as a flaw, I take it as a compliment.

And thank you as well for mentioning the colours — they were part of what initially caught my attention.

I really appreciate you taking the time to share such a careful critique.

And the letters... sorry, they are not as readable as I'd liked, I know. They are printed on the desk behind the legs of the human figure.

Ah. So they are. I hadn't spotted that. Your reply confirms that we photographers do instinctively think in terms of composition and the general make up of the final image. A;ways intrigues me.