Críticas

Hans_Dunkelberg (0) 2012-09-18 4:45

This photo in a magnificent way affords an insight into the character of the Czech capital. The dark bridge tower (right) stems from the period when Prague, during the time of Charles IV (German king and king of Bohemia from 1346 to 1378 and, from 1355 to his death in 1378, Holy Roman emperor), was the political and cultural center of a wider region around it stretching as far out as into decisive parts of Italy. It sits at the other (right) shore of the Vltava River, at the end of the AD 1357 Charles Bridge, and is probably the city's most poignant landmark. The church heads just above the rooftops in the foreground have begun replenishing this sight only during the baroque era, i.e., when Europe already began to awaken into the enlightened atmosphere of TODAY.

Hans_Dunkelberg (0) 2012-09-18 4:06

This photo is greatly composed. The trees serving as structuring elements in the foreground resp. the middle-ground seem to grow out of the picture like parts of the facade of the building. This facade appears, thus embedded into the green, living organisms of the garden in front of it, to gain LIFE, itself. The palace and the bushes, together, seem to reach into our present from some dim, cloudy epoch of the PAST, and this effect, from the very first moment we look at the picture, conjures up an atmosphere as uncanny as lively and realistic.

Hans_Dunkelberg (0) 2012-09-18 3:42

It is interesting to obtain a picture of such a spot one has, so far, mainly seen in a rather small black-and-white photograph within a decade-old geography handbook. Such an additional shot of a classical feature can help one grasping how small the Earth is, how strongly we are forced to concentrate onto the ever-same places and subjects. This photo, particularly, provides good information on the relief of the terrain, as the Sun is shining just parallelly along the slope.

Hans_Dunkelberg (0) 2012-09-18 2:44

This photo possesses a particular value in teaching us to perceive Italy as a still widely untouched, natural region of the world. The cloud blanket above the top of the mountain to the left conjures up the impression one found oneself somewhere in the South American rain forest. That gives the picture an unusual educating power regarding the political equality of all parts of the Earth.

Hans_Dunkelberg (0) 2012-09-18 2:24

This photo can, with full right, be called a masterwork. It is composed evenly, made up of several heterogeneous elements. The character of the landscape shown is conjured up in a way as thorough as unobtrusive. Above all, one is, in a pleasant way, introduced to the tender change of shapes that uses to rule such places in the smaller ridges of the edges of the Alps. Faint curves are broken into several pieces, evoking the typical romantic Alpine impression so many painters have never ever really succeeded to catch realistically. What painting has always been deemed to exaggerate - Caspar David Friedrich perhaps being the best example, here - is, here, placed in front of our eyes really as if we were there, ourselves. The creator of the image has selected, in a dexterous way, a spot possessing both strong STRAIGHT and strong CURVED lines. He allows us indulging in the complex interaction of the clearly contoured shades of the ROCKS, particularly those just a tiny little bit right of the picture's center, on the one hand, and, on the other, the both LAKES in the foreground. The clear vertical impetus of the rocks in the center in a convenient way interrupts the otherwise mainly horizontal structure of the photograph. We can discern the complete shoreline only of the right of the two lakes. That is pleasant for the viewer, as he uses reading a picture from left to right and, thus, would be disappointed to have the complete shoreline only of the first lake he more closely examines, but, then, to experience are worsening clarity of what he is shown. Having the complete shorelines of BOTH lakes, on the other side, would be deadly - would render the work just some cheap illustration from some mad Germanic magazine or so. I will, probably, not have to say all-too much regarding the harmonious distribution of COLORS. The faint red dots donate life to this scene that would, without them, nearly only be coined by GREEN, GRAY, and BLUE. The CLOUDS, with their round silhouettes, constitute a most relieving contrast to the rugged, cornered traits of the mountains, corresponding, in this duty, to the lakes of the foreground. We obtain a good overview of how vegetation spreads across a mountain range, here: we see the darker, blue-green woods on the slope of the valley in the background, the already so much more modest grassy counterpart of that, just in front of our feet, and the hardly-any-more-obvious several last bushels on the debris to the right. Thanks God the photographer has chosen, for us, a standing point bringing the marvelous scarves of naked red earth, in the very foreground, into our view in its magnificent kind of communication to the cloud rows to be watched, here. This is one of those sceneries appearing to have somehow grown just for the sake of being photographed, in one very unique moment.