Places of Worship

[The amateur]

Some time ago, I embarked on a photographic project I called "Places of Worship."
Initially, it was meant to feature captures where believers were the primary focus. However, over time, it evolved to encompass broader content, including purely architectural aspects or anything that caught my attention.

This series isn't bound by a set number of images. It will contain some that I've collected over time alongside newer ones.
Technically, the photos were taken using equipment from various brands, but the essential aspect isn't the gear but rather the impact of the image on the perception of the theme.

Expanding on this idea, the evolution of this project reflects the fluidity of perception and the dynamic nature of artistic exploration.
What began as a study of faith and believers morphed into a broader investigation of architectural beauty and moments that captured my interest.
The absence of a fixed image count allows for an ongoing exploration, showcasing how different perspectives and contexts can shape our understanding of the subject matter.

This project stands not only as a visual collection but as a narrative of evolving perspectives and the power of imagery to provoke contemplation and evoke emotions beyond the initial intent.
Hope you like it !
Cheers !

[escape]

I find the blurry column distracting. I took the image in a different direction just to show possibilities. This sounds like a meaningfull series.

[The amateur]

Thank you Daniel for your constructive comment.

I don't believe that an excessive framing like this can be beneficial in translating this idea or concept. I strive for the images to be integrated into the context and environment where they are captured, and this is greatly aided by the wide-angle lens.

The significant area occupied by the column on the left is part - from my point of view - of an accentuated perspective concept, placing a less important element in the foreground. However, it leads us to gaze more deeply at the main subject and contrasts with the other architectural elements on the right.

Indeed, the smiling young woman is an important element, facing the elderly behind the red bars, with whom, by the way, she should have been speaking before the prayers... The red bars and the white shirt become the focal points of this immersive image.

Regarding the initial image treatment, I must add that it's a meticulous and careful process guided by my personal taste.

Thank you once again for the comment you were kind enough to make.
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More images to come !

[The amateur]

The belief in a higher entity that governs (or misgoverns) us is universal and cuts across human beings.

Places of prayer, pilgrimage, or veneration vary and are often richly adorned with gold and/or precious metals, sometimes even with valuable jewellery worn by ecclesiastical elites.
Religions mobilize crowds.

A pleasure to photograph !

[The amateur]

The format I frequently use for cropping has a 3:5 aspect ratio and is only used horizontally.
It all started a few years ago when I aimed to print photographs in A5 format, giving them a generally white margin all around. The printed images are grouped in sets of 5 or 6, thus forming a collection or a thematic set.
Even larger images within the same format (A format) are perfectly achievable with excellent results.

The canvas - not shown here - usually enhances the image and allows easy handling without placing fingers directly on the image itself.

[DanK]

There are at least a couple of different themes in this thread, one general and one specific.

The specific is about the pillar on the left. While I don't particularly care for Daniel's tight crop, I agree with him that the close, out of focus pillar on the left is very distracting. It pulls my eye away from the people. While I appreciate the goal of incorporating the environment--that's what environmental portraits are--this particular one just doesn't work for me. As a general guideline (not a "rule"), distracting elements at edges of an image are very often not a good thing. I've seen exceptions, but not all that many of them.

The general one is about cropping and aspect ratios. If I recall, we had some vehement disagreements about this several years ago, when there were some people following the forum who have since left. At one extreme were a few people who printed everything to one aspect ratio. I was and still am fairly close to the other extreme. There are times when I print to one or another arbitrary standard aspect ratio--for example, when an event calls for it, or when I have to use a standard frame--but in general, I let the image determine the aspect ratio. Constraining the print to a specific ratio often results in including things that are better left off or excluding things that are better left in. Also, some quite apart from that issue of edge elements, some images just call for a different aspect ratio.

If you look at the work of at least some of the masters, you will see that they varied aspect ratios to fit the image. For example, I just looked at two of Ansel Adams' prints that were on facing page of a book of his work that I have. The first has an aspect ratio of 1.23:1. The second has an aspect ratio of 1.4:1.

[escape]

While I don't particularly care for Daniel's tight crop, I agree with him that the close, out of focus pillar on the left is very distracting.

Hi Dan. Antonio gave an explanation on why he chose to keep the photo as is. It is interesting how we all see the same thing differently. When I look at the original, for me, the most critical point in the image is the motif on the column. That tells you where this is taking place. So, it is a vital part of the image that is brought forward in my crop. In addition, the crop brings more attention to the light entering through the window. I found the original to have many diverse elements. That is just my perspective.

I just wanted to share my rationality behind the crop. We all see things differently, which is a good thing

[DanK]

We all see things differently, which is a good thing

Indeed. I've often found it very helpful to have folks here and elsewhere explain why they see my stuff differently. Things that people here have said have substantially changed my photography. E.g., both the issue of distractions at the edge and out of focus things in the foreground are things I thought much less about until people commented on those things in images of mine.

[The amateur]

@ Dan
Dan, thank you very much for your comment.

I can't help but agree that indeed, the large area of the pillar on the left is exaggerated, and perhaps presenting it this way in a fixed crop is nothing more than foolish stubbornness.

Therefore, I agree it's unnecessary, and for that reason, despite my liking for it due to the young woman smiling while talking to the elderly, this image is one to discard from the collection. In other words, it doesn't deserve to be part of a series of images that I ambitiously wish to be very good. At least with this crop !

The issue of varying crop sizes is an option, and here too, I agree it's another stubbornness on my part. Perhaps I shouldn't confine myself to the paper size but rather to the crop the photo demands.

Certainly, the great masters of photography don't have these kinds of problems. After all, whatever crops they make are always accepted and revered.

In the end, I'm the one in the wrong here. Therefore, all that remains for me is to put an end to my stubbornness. And as you mentioned, Dan, towards the end of the thread, the comments here have made you alter your photography.

Your observation regarding the blurring of areas is also very interesting, and I feel that it's an integral part of a good image. That's what I'll do as well.
Thank you!

@ Daniel
Thanks also, Daniel, for your equally important contribution.
My tendency is to capture as much as possible in the final frame, but that's not always possible...
I'll change, I'll change !

Gentlemen, how about it now ?

Oh ... you did not tell me anything about the other two images...

[The amateur]

This time, the atmosphere of worship undergoes a radical shift into the night, where religious rituals of profound significance for believers unfold upon an invisible stage.
The smoke billowing from the fire lends the image a mystical aura, enveloping a ceremony where individuals take part on land or in water, aboard densely packed boats.

[The amateur]

[The amateur]

[The amateur]