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The Red Divide..

JFG
Whiz
Whiz

The Red Divide R6 Mark II  RF24-105mm F4 L IS USM  HandheldThe Red Divide R6 Mark II RF24-105mm F4 L IS USM Handheld

The Red Picket Divide stands guard by the roadside, a flashy bouncer in Ferrari‑red pride keeping cars on one side, foxtails on the other, because someone had to supervise.

Foxtails gossip, “Why’s he so wide?” Palms shrug, Pines look mortified, Oaks just mutter, “Kids these days…” dignified, while the fence keeps posing, arms open wide, acting like it’s single‑handedly holding back the countryside.

It’s less a boundary than a vibe, a long red “nope” between asphalt ambition and the wild green tribe.

 
Cheers,
Joe
Ancora Imparo

"A good photograph is knowing where to stand."
--- Ansel Adams >
"You don’t take a photograph, you make it."
--- Ansel Adams
3 REPLIES 3

LeeP
Authority
Authority

I like this image. It would also be fun with a horizontal flip. Very captivating.


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Digital via Canon R100 and R8. Analog via Pentax, Nikon, and Minolta 35mm SLRs and via Mamiya RB67 and 645, not to mention the persnickety Pentax 17.

@LeeP This one is for you Lee !  "The Red Divide with a Horizontal Flip"  😉

The Red Divide With A Horizontal FlipThe Red Divide With A Horizontal Flip

Let me know which one you like best.  😎

 

Cheers,
Joe
Ancora Imparo

"A good photograph is knowing where to stand."
--- Ansel Adams >
"You don’t take a photograph, you make it."
--- Ansel Adams

Haha! Good one!! Even though it no longer is "real" with a horizontal flip, compositionally you now have a--sort of--ascending line from lower left to upper right--sort of. I love the original image, but I like this one better. In the original, the fence feels limiting and impeding because a sense is created that the viewer is inside the fence whereas here in the horizontally flipped version the viewer does not feel "contained" due to being outside the fence. 

You could print them both and sell them side-by-side as a diptych.

Thanks for the conversation.


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Digital via Canon R100 and R8. Analog via Pentax, Nikon, and Minolta 35mm SLRs and via Mamiya RB67 and 645, not to mention the persnickety Pentax 17.
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