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Monday, 14 May 2018


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Wonderful stuff!!!!

RE: Chester Williams, The Goodbye Kiss

I think I see your next print sale.

Thanks, Mike. I didn't really expect you to use my photo but I'm glad you thought enough of it to do so.

I'm honored to be in the same company as the others whose works are represented here.

I'm writing about the Chester Williams shot in your colour series. It talks to me. It talks to me deeply. I'd love to have a print of it. Is there any way, Mike, that you could act as matchmaker, or is this more common than I think? Is there an opportunity for you here? I know exactly the size I want as it is a wonderful complement to a picture that I own.


Olympus, Pentax, Ricoh... compact cameras.

Love the Goodbye Kiss!!! Great seeing.


Thanks for including me!

I like Eolake's comment about compact cameras.

I don't know what that means in this context, but it might be that biggest isn't always best, and that it can sometimes interfere with sensitivity.

This group of images is also very good. But it’s a group that seems to be less about color than it is about seeing, with color involved. That’s absolutely not to detract from any of the images. But it’s a quiet group of things seen between breaths. Some good background sketches too, eh?! It’s fascinating what we remember about some of our images.

I'm not so sure that colour is necessary in the Goodbye Kiss, but I don't care, it's a wonderful, wonderful image. I saw it immediately.

Thanks Mike for considering my photo. My favorite of this bunch is Lee Shivelys "Lady in the room", love it.

Like them all but the Goodbye KISS is brilliant

I would add that Chester Williams’s well-seen “Goodbye Kiss” does not require color to convey its cleverness, at least not to my eye. Its illusion is built upon placements and proportions to trick our minds into familiarity.

I very much enjoy such images and believe their capture to be among the most difficult and unique challenges a photographer can face. By way of comparison this wonderful image by Matt Stuart is an example that does rely, at least partially, on color for its illusion. (I bought a print of this last year.)

Well, I like them all. Hard to pick a favorite, though maybe Tim's shot of the road, which is simple and perfect. To me they all stand out by being subtle and intelligent, somehow. That's the impression, as a group.

As a lonely photographer on the tiny (238 Square miles) Caribbean island of St Lucia, I wish to thank Mike for displaying my image..it is indeed an honor! More honored, though, to have read these wonderful comments by such a knowledgeable group of the "TOP commentariat."

Hey Mike..I am open to have this as one of your print offers too!! Bottle of Rum included? My people can talk to your people.. anytime.



I wonder if a black and whote conversion of the Kiss makes us come to it more gradually.
No matter and any way up it is simply magical.

Goodbye kiss is just a wonderful image.
I don’t know how critical color is to it , it I like the subtlety of the color and since that is the way Mr Williams chose to present it , it is a color image to me.
I especially like that is all in the Photographer’s eye.
Wonderful picture.

Subtle color as a necessity is an interesting point. These wonderful images certainly succeed in that regard. When this call for work was first announced, I immediately thought of some neon images I've made over the years which are anything but subtle. I have a nice image of a Dale Chihuly neon tower (orange sherbet in color) set against a Sonoran sunset that demands color but I just couldn't see submitting a photo containing another artists work.

I love the green in Stephen's photo. The beautiful women are also a bonus but the green makes it for me. I think this is my favorite. I don't typically stop to consider my own biasses (color affinity) when viewing a photo but this came up today.

I viewed this group without reading the photographers comments and after reading Lee's 'Hopperesque' note, I like his photo even more. I had not seen that aspect on first glance. I did see Chester's face on first glace though. That's a great shot.

Lee Shively's waiting room poster is wonderful.

When I worked in the US for many years, I came to refer to that kind of decor as 'American brown'. It brings back memories of so many country motels that I stayed in at the time.

A print AND rum sale! Sign me up.

What a surprise, after being offline for about a week I open TOP and see that my photograph has been selected for the Baker's Dozen! Didn't expect that to happen. I'm honoured.

I also like 'The Goodbye Kiss'. It's color is indeed very subtle. It adds warmth to the photograph, which I guess would be lost in B&W.
By the way, I also love how you always cheat to show more than 13 photographs ;-)

I'm enjoying these Baker's Dozen posts, they are educational and it's always fun to see other peoples interpretation of an assignment.

I liked many of the shots in this edition, but this and Guarini's photo are absolutely stunning. Yes, yes, yes, The Goodbye Kiss must be in color. The subtlety of it would be lost without the color!

I have liked all the photos in the series so far. Guarini's photo looks amazing, and I love the backstory too.

The Goodbye Kiss is remarkable - it's that tender 'closed eyelash' that makes it. I can see it would still work in b/w, but it needs the colour tones for the full immediate impact I think.

A friend of mine was so inspired by my image, The Goodbye Kiss, that she wrote a poem about it. Hope you enjoy...

One Last Sun Splintered Sunrise, One Last Goodbye Kiss

These tremulous years
have shaken the mortar of my bones
and left me splintered,
entwining sunbleached days
into the crevasses of my face

I have seen
sunrises that have wept beauty
and teased me from sleep,
shadows languidly creeping
through an ache of days,
and felt the rain
pit my cheeks with tears

this shattering,
slow at first
has crept in a spiderwork of veins
that has wedged between us,
moss growing
in every nook,
darkened from all our yesterdays,
and I can feel you
pulling away from me
in an agonising rip
that cannot be plastered over
with any words,
for they are all short
of I love you

so I will leave you
with the sandy marrow
of my weakened strength
and lean in
for one last kiss goodbye.

Mike, Chester,

Please do get your people talking to each other. The Goodbye Kiss grabbed me straight away, and my better (and wiser) half is similarly impressed. I can't remember another image getting instant joint approval.

On another note, if you go ahead, I'll be seeking recommendations for a heavy duty drill. The picture is already virtually in place as far as the wiser part of the decision making unit is concerned. Unfortunately for the other half of the DMU, he is aware of how normal drilling just bounces off the wall concerned. Don't even suggest "just tapping in" a picture hook.

I wonder if face recognition sw would recognise a face in the goodby kiss.
If not, than there is still hope for mankind.

I'm way late to this discussion, so I know nobody's going to see this, but here goes.

The hardest thing I've ever done photographically is to try to shoot in color where color is essential to the shot. Cartier-Bresson famously defined his "decisive moment" as that point where the eye, the brain, and the heart converge, thus describing photography as a kind of algebra. If black & white photography is algebra, then, color photography of the type I describe must be advanced calculus. Photographs where the eye, brain, and heart converge, and where color plays some truly essential role in the image, are almost impossible to find or create. That, at least, is my experience.

Not long after I picked up photography again after many years layoff, I went on a multi-country tour of south and southeast Asia. When I arrived at my final destination, India, where I planned on spending most of my time, I vowed to shoot mostly in color, figuring that colorful country would be the perfect place for it. I saw lots of shots that would have been great in black & white, but I refused to put black & white film in my camera, and refused to take a shot if color was only incidental to it. Needless to say, this resulted very few shots, in a place rife with shot possibilities. Eventually, after cracking my skull in the effort for some period of time, I finally relented and switched to black & white. Then I relented further and decided to treat color as an incidental element, rather than an essential one. It was either that, or come back with no pictures.

Nowadays, of course, the hero image is all but dead, and color is almost entirely incidental, except where it's treated as an ornamental element, such as on Instagram. In a way I'm glad about this, because insisting that color play an essential role in the image just sets the bar too high, at least for me. Full credit to anyone who can shoot that way.

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