What is striking about the pano is the direct look in his eyes. Its a
little sad yet his face looks as though it might start a smile. A lost
childhood perhaps. He looks like a boy and yet a man here.
Its like a documentary still portrait in his own environment in 360
degrees. A normal photo would have to chose which background to shoot
against. You can look here and discover so many things from this pano
because its 360 degrees.
1. The boy lives there probably with his parents. ( the clothes
hanging in the background and light on in the dark room)
2. He has a good luck charm on his right leg and maybe an earring on
the left ear. Right thumbnail is long and he has a good set of calf
muscles. Probably a good sportsman. Football or badminton ( being
3. The place used to be a shed or factory but the roof has gone and
the end walls look precarious with trees growing on them.
4. The bags seem sorted out. Plastics to his left and metal to his
right. There is also a gas cutter to cut metal into manageable sizes,
so he probably knows how to use it.
There is a fine line between documentary still photography and
photojournalism and they both cross these lines all the time. Recently
there has been some controversy about the famous FSA group that shot
the depression in the US. Walker Evans may have used his own alarm
clock on a sharecroppers mantlepiece and Arthur Rothstein is supposed
to have moved a cow skull a few metres to get a better picture. http://mabidavid.files.wordpress.com/2009/02/eddie-adams-icon.png
But photographers do choose their viewpoint sometimes just to get a
better composition ( its what we get paid for I think ). But with
photojournalism there is a presumption that the picture depicts the
truth. Eddie Adams apparently paid the South Vietnamese army officer
to shoot a suspect so that he could get the famous shot. http://mabidavid.files.wordpress.com/2009/02/eddie-adams-icon.png
Thanks for posting Jeffrey. I really love this pano as it speaks to
me. And thank you Martin Bloomfield. Did you take more pano's in
Vivek Dev Burman
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