* Wednesday C&C "No Theme" Thread #885 / Revived #105 on 2025 04 02*

Lyon Lines

A few weeks ago, Roel posted images of the Musée des Confluences in Lyon (see here ) which is architecture from a photographer's dream. This photo is also taken there, but from the inside looking out. I was fascinated by the interplay of different lines, which are mainly straight, but including the elegant white curves of a bridge. By exposing for the outside, the interior is almost black, but the lines of the escalators, shining faintly, break up the block of darkness at the bottom.
It is really a portrait of the bridge, but I wanted to do it in a more interesting way than just a straight forward shot from outside. I think having to disentangle the bridge actually makes the viewer think more about its shape and elegance.
I really like the interplay of all those lines, but am interested to know what you think. Do you think the bridge is just lost? Does it hold your attention too? Or is it just a mess of lines?

Great story and beautiful, moody shot.

Isn't it great when you get paid to do this?!

Rich

Beauty like this attracts everyone, as it should. But then, it's less beautiful for that.

Ansel Adams sadly taught us that.

Very nice images.

Rich

I love images like the for their graphic quality. Especially the first one.

Rich

I had considered going square format with this one.
In fact I did more than just consider it and I actually cropped to square, getting the bottom to just under the first lady's shadow and the top a sliver above the top of the temple.
It did look good, but there were things I liked less: I missed the blue sky and the tree adding nature, and I missed the feeling of this being almost like a red carpet in a fashion show. So in the end I decided to just keep the 4:3 ratio.
But, like I said, the idea of going square was very prominent, so I understand where you are coming from.

Pete,

I think this image is more a starting point than a finished concept.

To answer your question . . . I don't think it works too well, as is.

There appears to be a lot of interesting architecture!

Rich

This image is subtle. A dark old storage area. The rows and stacks of boxes hint at hidden things. The striplight above, the window at the end and the light reflected on the floor, create a channel.The narrowness presses in. The dark browns give age. If the shot had the shadows raised it would have lost the atmosphere.

'

Classic mountain landscape and classic landscape framing.
Re. the cable car. The older I get, the more grateful I am that I visited many places long ago. My grandmother said the same.

Much of the pleasure in these is knowing that all the massive industrial strength of the steel and beams and bricks has been transformed into a food hall.
The strong lines and angles of the last two certainly say "strength."
1 is different. Metal again but this time it's the surface detail being studied. The sidelighting helps in bringing up the patina. I don't know the lens but it looks to me as though the image is very slightly out of focus?

Colorful umbrellas are always an engaging feature in any photo. Add colorful local clothing and a smiling ancient-looking Buddha and you have a doubly engaging one. The elongated shadows giving separation to the figures are another nice touch.

Immediate connection with The English Patient.

Fascinating image that I suspect has sold well because of its graphic simplicity, its striking colors, and the story it invokes. Love this one.

Aren't other peoples' storage rooms fun to photograph? But not my own - the clutter of others is far more interesting than my own. You managed to make it look much spookier and more dramatic than perhaps it is. Nicely spotted by a creative eye.

These two images give this viewer a feeling of being suspended and looking through something, as if I'm riding that cable car even before it exists. I see why designers thought it would be a good place to put one but it is such a lovely view I hate to imagine how intrusive the mechanics of the car might be. Wonderful rock formations in the mountain, well captured.

Creative angle for photographing a lighthouse. (Though lighthouses have been done to death by painters and photographers, I still love them and seek them out whenever I'm near a coast). The geometry is more evident than with a traditional composition - the circles, cylinders, the octagon (I think) on top. The light itself, which we seldom see in daytime photos, is an added attraction. Great colors, simply composed, very nice.

The lines are interesting visually but I am finding myself sucked into the dark corner on the right and blocked by it from seeing the end point of the lovely span of the white bridge. I wonder if the color is persuading me that it is a cityscape photo instead of a geometric abstract about lines and shapes. Perhaps removing the color would clarify the vision you're trying to convey? The blues are lovely but maybe too much so?

My camera settings were all over the place. I wasn't expecting the plane and I was frantically trying to figure out what I needed to reset things up. This shot is from when I first became aware of it before it started skimming the dunes. The exposure isn't correct. On the very far left there is a little triangle that is the edge of the flat area they set down on behind the dune - and joined us for breakfast,