[MUSIC] Dennis Kennedy was a student who took photography classes with Peter. He sent a recent sample of his work, in the same format you'll use for your portfolio. He also crafted a statement like the one you'll craft. The series he says has to do with the romance of steam engines. I hope to capture the power and impressive beauty of a 400 ton machine that is as finely crafted as any machine ever was. Of course in these photos, the locomotives are not moving and so are missing the animation necessary to really drive this message home. Still I hope the viewer can come away with a sense of respect for the mechanical artistry that I see. In any case, my intent here is to offer the viewer a chance to momentarily transport themselves 75 years into the past to experience something that was so common then and so unusual now. I believe that knowing where you came for at least as important as knowing where you are. Having a sense of what came first allows us to appreciate the journey from what was then to what is now. Five of the eight images were photographed at night one of those the third Is an homage to O Winston Link, arguably the finest night time steam locomotive photographer that ever worked. Let's take a look at Dennis's works. One of the most powerful works of the whole set, coming back after see them all it leads you to wonder why he didn't choose to focus on the striking detail more often. The use of selective color also gives the image a stronger presence. The dark circular wheel engaged by the strong horizontal shafts seems to radiate power and strength and gives the whole composition coherent and meaning. Here we have the point of view of the locomotive coming directly at us. The angle is a bit puzzling. Again, we have the selective use of color on the train number. One can't help but wonder, given he was in no danger of being run over. Why not get closer, or get lower or perhaps use a wide angle lens to emphasize the size and power of this mechanical beast. The steam, likely an effect added in post processing, seems a bit puny and insubstantial. All in all it looks more like an old locomotive riding on a side rail than a powerful beast. The blank sky could play a role in that too. In this image, the ambiance is certainly more convincing and the steam effects as well although there could be some along the underside of the engine to be more realistic. Steam engines standing in the station had steam coming from several locations, not just top of the cab or the smoke stacks. Adding other sources might strengthen the impact. The overall dark tone of the engine contrasted with the lighter tone of the caboose or train car sitting in the side line. Also, it's quite effective and along with the night time ambiance gives the image an aura of mystery and seems to achieve his goal of making us appreciate these incredible machines that have more or less vanished. Again, another night shot and again the tones and color are quite effective especially when in contrasted with the sprays of steam, now coming at least on one side also from the bottom. The lower left side of the image seems strangely inert and perhaps could be cropped or darkened with the burn tool. I also wonder if a closer angle, even if one wants to get the whole cab, might be an even more effective point of view. In terms of visual drama, this night shot is one of the most effective of the whole group. The contrast of the small ticket stand on the left, with the illuminated locomotive going in the opposite direction, gives the image a strong dynamic force, even though the train is not moving. And the sparkling light in the near and far towers contribute to the magic of the voluptuous black negative space enveloping everything. Another fairly powerful night shot. The use of the foreground is superb. Again, the plumes of steam are effective but seem a bit stylized and regular. Perhaps, adding more steam, again, below and a bit more erratic would make it even more effective. Over all, the use of negative black space is very effective, and contributes greatly to the mystery and power of the image. Except for the people, this image is very similar to the third image in the group. Adding the people is somewhat effective, but their clothing in this light, from this angle minimizes their presence. Why not get closer and let the cab go, and shoot only the front of the train, with the people making them more prominent. Or why not try laying on the ground, or shooting from the back of the train or under the train. Or even get on top of the engine or the caboose. Somehow this series begs more varied points of view and different angles. How much of the caboose is really necessary? What does it contribute and what would be lost if it were cropped? These are crucial questions to consider. And the re-occurrence of full views or near full views illustrates one of the other challenges of a series of images. If certain elements reappear in many different images that can dull their impact. This effect might not happen if you were just looking at one of them by itself. In some ways the last image is the most enigmatic. We return to daylight and, unlike previous images, the sky is intense and dramatic. And the layers of water tower by themselves are also quite dramatic and intriguing. But they blend into the string of cars in a way that makes them seem unified that in some ways resembles the classical problem of the telephone pole coming out of the subjects head. It’s hard not to think that a different angle might have rendered this shot even more effective. And an angle that provides some separation of the cab and train from the towers seems like it would work even better. The question of the effectiveness of the long shadow in the foreground seems smooth. Nothing really wrong there, everything seems to be perfect except the union of the towers with the train. And perhaps the photographer hoped to show them as one phantasmagoric construct. If so, it's working. I might not have chosen that, but there is no denying it does look somewhat surreal if one adopts that perspective. That brings us to the end of our encounter with the romance of steam engines. As someone whose grandfather worked for the railroad all his life, and someone who used to ride with the family to watch the trains come in, I have a great deal of affinity with the attempt, and it surely is not easy to reanimate a past. And to somehow get people to understand the nature of something before it slipped into historical obscurity. I hope the photographer keeps pursuing the project, as it seems well worth the time, thought and imagination. Now though, it's time for us to turn towards your statements and your projects. [MUSIC]