Long 25 Female Sex Worker in Shortime Room, Thailand 2008 Version 2

you cant polish a turd.

Personally, I like your B&W work better. I think your B&W images usually allow a gentler representation of your subjects, allowing a certain amount of sympathy to be evoked. I believe that's your intent overall.

Now (and I think you've heard this from a couple of us previously), you've had comments from all over the map but overall, you've received much encouraging and constructive comments. It must be time to get the best shots out in exhibition or published, isn't it? I know you've looked into it, but maybe it's time to stop asking "how am I doing?" and get it out there.

I also think that it might be time to stop posting this series here, because you surely don't need to hear any more wide-ranging feedback, especially cheap shots like the ones that seem to be coming in most recently. You already know which are your best images, you already know how you want to present your subjects.

With respect,

I would say, contrary to the previous comment, this is the best piece from the series. it has an emotional and psychological content that is lacking in all the others. Its disturbing, unsettling, and makes me feel as though I am responsible for some wrong that has been done.

The rough, almost snapshot, feel of the photograph is an asset. the tight light, from what I am guessing is an on camera flash, makes it seem as though its a police photograph. The use of color, subjects attire, and the hollow look in the subjects eyes (not ot mention the number pinned to her chest!) really complete the piece. The combination of technical and compositional choices illuminates the idea that there is something nefarious going on.

My only critique is the name. you have laid it all before us. In work like this the naming scheme is tantamount to telling the punch-line before the lead in. This series could have an amazing impact if all the pieces were untitled. When they are all seen together the information in the names becomes irrelevant. The time period and location in which the work was made can be given in artist statement. It will be obvious that all the women in the photographs are sex workers, and leaving the names out will allow the viewer to put the pieces together him or herself.

One more thing; how big is the photograph? I see them as nearly 20x24. the subjects would be almost life size which would do two things 1) make a connection between the viewer and the piece saying this is real and this actually happening. It will make your viewers see the subjects as real people. 2) It will make the pieces very confrontational. this ties back to them being life size. Reds and flesh tones tend to "push out" from the piece, as opposed to recede. it will give each piece its own space. much like the work of Hans Hoffman or the op-art of Frank Stella.

Good work! keep it up!

Great analysis, Chris. Thanks for upping the quality of the discussion here.

tmike all valid points thanks for your opinion. Published? hmm not sure on that but did do a self pubished book last week...

http://www.blurb.com/my/dashboard

shown? hmm not sure about that but did make a submission to a gallery today(and one a month or so ago), with more to come (now that I have my neg scanner.)

The work has also been collected recently by 2 American collectors, so I guess that fits into the shown category also.

Thanks for your imput, I still want to work in color thou, somehow I feel drawn to it. To me it seems to make the life more harsh when shown in color.

Chris, thanks very much for your input...

My only critique is the name. you have laid it all before us. In work like this the naming scheme is tantamount to telling the punch-line before the lead in. This series could have an amazing impact if all the pieces were untitled. When they are all seen together the information in the names becomes irrelevant. The time period and location in which the work was made can be given in artist statement. It will be obvious that all the women in the photographs are sex workers, and leaving the names out will allow the viewer to put the pieces together him or herself.

an excellant point, I might try what you suggest if I ever get a show for the work, put the title info in the artist statement, then call the prints untitled 1, 2, 3 etc...I have to give more thought to the titles, I think your right when seen as a whole, the titles become unessesary and even a distraction.

as to the size, the white background stuff is usually printed 16x20 or 20x24 (8x10 negative) this image is from 120 film so usually print it smaller 10x10 but your point about lifesize so people could relate better is on the mark, I think I might try larger 15x15 or 19x19 (20x24 paper). If the largeness of the work makes them more confrontational then that is what I want, thanks you gave me lots to think about.

I do not know the artists you mentioned, I will study there work. Thanks very much again.