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Thorsten von Overgaard Gallery Store - Signed Thorsten von Overgaard Print
 
 
 
     
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Original Signed Thorsten Overgaard Print:

"Dickens
in Boston Snow"

2014

Signed recto (rigth hand corner).
Title and info on back.
Archival Pigment Print. 

 

Available in:

4 x 6 inch print on 5.5 x 8.5 paper

6 x 9 inch print on 8.5 x 11 inch paper

9 x 14 inch print on 13 x 16 inch paper

11 x 17 inch print on 13 x 19 inch paper

13 x 20 inch print on 17 x 22 inch paper

27 x 40 inch print on 32 x 42 inch paper

48 x 72 inch aluboard print (to edge)

In stock. Your original ships within 24 hours. Aluboard though takes two weeks to ship. 100% satisfaction or money back.

 

#1006632-2014

 

Original Signed Thorsten Overgaard Print:

"Dickens 
in Boston Snow" 

2014 © Thorsten von Overgaard

 

Add to Flipboard Magazine.
 
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The story
behind that picture
"Dickens in Boston Snow"

By Thorsten von Overgaard

On February 13, 2014 a winter storm was tracking across the United States East Coast.

I had just arrived to Boston at 9:35pm the evening before, on a flight from Los Angeles. When I woke up on the 13th I went for breakfast at Charlie's Sandwich Shoppe just two blocks from the apartment I had rented.

Charlie's Sandwich Shoppe in Boston
Charlie's Sandwich Shoppe in Boston.

It was gently snowing, and as the minutes went by this turned into a blizzard.

I was excited, because I always see the unexpected and the unusual as a possible gift for photographs. Either I went straight out in the city, or maybe I went back to gear up with a scarf, but I was pretty determined to experience as much of the blizzard firsthand as possible.

50mm Noctilux in the snow

My choice of weapon was the 50mm Noctilux f/0.95. It just was… I don't think there is any reason for it.

I first walked towards a mall some blocks away so as to try to locate myself in a city I had never been in before. There I saw wider streets with traffic, and newer buildings which weren't that interesting.

I circled back to my own neighbourhood around 158 West Brookline Street and I just followed my intuition as to which direction to go for pictures.

As I recall, I was on the way back to my apartment. It was cold, it was snowing wet snow, and there was a rather strong wind, and I was excited about the possibilities.

Torn between a warm apartment and the urge to explore, I stayed outside. I knew I could go back whenever I wanted to, but I wanted to allow the moment to maybe show me some possibilities.

 

 

At one point I did something that even to me, in that moment, seemed odd: I spent fifteen minutes standing on top of the stairs to a townhouse, having what I thought was an exciting frame in view: A series of townhouses down the street, with stairs and trees in front of them. I just needed a person or something in the frame.

During the cold, windy and wet weather that seemed to just get worse by the minute, people were absent from the streets. Still, I was determined to wait for at least something reasonable.

Only a Danish photographer would stand still with a camera soaked in wet snow, with fingers turning blue and constantly having to clean my glasses and the camera’s lens to be able to see something.

I remember that while I was standing there, loyal to my idea, I heard the sound of people to my left. I turned to look, and somebody was starting a Beetle that had been parked in a rather romantic setting. I took a photo a few seconds before the car left the spot, then returned to my planned frame.


The Beetle in Boston

In retrospect it seems a little foolish that I would be so loyal to the idea of that particular frame. But I was on guard and I just wouldn't give it up.

Eventually I had given the frame a chance for at least fifteen minutes. People had come and gone and I had photographed them. Later, in the editing on the computer, I would be able to see what I had gotten.

I decided to head back, maybe via a detour around the area. I was on my way home to warm coffee and dry clothing when I peeked down a narrow alley through the backyards.

 

 

 

I intuitively stopped, framed, checked the exposure ... and then I waited for somebody who would walk from the other street through the alley towards me.

It was a prevision. After a very short while, I realized how unrealistic that actually was. During a normal day, that prevision would likely become reality within a minute, but in this weather it was more likely to never happen. Nobody was outside unless they really had to be (with the exception of me).

As it happened, a person passed by, I took two photos, and even though he was not walking my way, I took it as a clap on the back that I had at least tried.

I thought, "Ok, that's it. I did what I could in this weather; I got my townhouses with some people." Then I headed back to the apartment.

I like this photo

As a photographer, you tend to decide when you take a photo, or perhaps often even when you plan to take the photo, how that photo will be considered. It makes you blind to see the actual photo as others would. You see your own flaws and your own successes not by looking at the picture, but by remembering the experience of taking it.

That's how we sometimes love photos that nobody else cares about. But also how others love photos that we don't consider that important.

The "Dickens in Boston Snow" is a good example of such a photo that, in the moment I took it, I didn't get what I had envisioned. What I wanted never happened, but then something else did.

It's taken me five years to gradually be able to see what others consistently have said when they see this photograph: "Wow!", and often followed by a sentence that includes a reference to Charles Dickens.

This is how it simply became known as "The Charles Dickens photo". Even though he isn't in it, he's all over it.

In the larger print of this photo, the amount of detail of the walking man, as well as in the snow and the texture of the walls, is amazing. You will also notice that in the shadows, you can sense that the lens is filled with snow on its front glass.

I once saw this as a depressing photo, an unnecessary photo like those which people take of homeless people. But strangely I feel happiness and enthusiasm when I look at it.

I don't think one should be able (nor required) to explain why one likes a photo. Use your eyes, and what you see is what you see.

I see an empty city centered around a person, and I somehow feel an energy burst of eternal survival.

 

 

         

Charles Dickens
loved Boston

I didn't know Charles Dickens had even been in Boston. But I learned this: As a coincicende, Charles Dickens visited Boston and used it as his base for his reading tour. He wasn't impressed with the US, but Boston he loved.
So much that his soul is said to still haunt the hotel in Boston where he stayed.

  Charles Dickens 
loved Boston

I didn't know Charles Dickens had even been in Boston. But I learned this: As a coincicende, Charles Dickens visited Boston and used it as his base for his reading tour. He wasn't impressed with the US, but Boston he loved. 
So much that his soul is said to still haunt the hotel in Boston where he stayed.  

"A wonderful fact to reflect upon, that every human creature is constituted to be that profound secret and mystery to every other. "

- Charles Dickens

         
         

Signed
Prints by
Thorsten von Overgaard

 

 
         
I usually sign my prints 'recto' (in rigth hand corner) and write title and info on back.
I usually sign my prints 'recto' (in rigth hand corner) and write title and info on back.
         

My Largest Prints

The Raffles Collection Singapore
A 72" print on aluboad being mounted in Singapore.

 


The 72" Aluboard Print is an Art Statement. Here being mounted in the Leica Galerie Salzburg.

My Largest Prints - The 72" Aluboard Print is an Art Statement

My largest prints are usually five to six feet tall (72 inches/180cm); "stand-alone prints" made on glossy photo paper (c-print) that is laminated on 3mm aluboard aluminum plates (also known as “The Rolls Royce of photo printing”). The aluboard has mountings and distance bricks on the back, so they are ready to hang with just two screws on the wall. It's a format that doesn't require a frame, and it just floats half an inch or so from the wall. I like this type of photo because it's impressive, it's a statement, and the photo dominates and sets the tone for the room, hallway or space it hangs in.

         
         

Exhibition prints


The Salzburg Collection is a series of 68 prints from the Leica Galerie Salzburg exhibition.

The Raffles Collection Singapore
Raffles-Collection Singapore is a series of large 72" prints from the exhibition "I Am Here" .

 


My smallest size print here, shown the way I usually have prints framed.

My smallest prints are 4 x 6 inches

Sometimes I just want to have a photo because I like it. I am not trying to fill a space on a wall, and I am not running a gallery or a museum. In fact, I am not even a collector. I am just gathering things I like; which is original art that is personalized by the artist (usually signed and/or given to me as a gift). In my home I have prints of Henri Cartier-Bresson, Stanley Cubrick, Peter Turnley, Jan Grarup, Paul Wolff, Helmut Newton and many others. Many of them are relatively small prints that can fit on a relatively small wall section, as an integrated part of my home. I made this "junior collector size" of 4.25 x 5.5 inches available because it gives many people the possibility to have one or more of my photos at a very reasonable price, and it happens to be a size I like myself. They can even stand on a desktop, and I think they are awesome.

         
     
         
         
         
         
         

 

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Leica 28mm Summilux-M ASPH f/1.4
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Screen Calibration
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Lightroom Survival Kit
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Capture One Styles by Overgaard
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The Story Behind That Picture
"On The Road With von Overgaard"

Von Overgaard Masterclasses:
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Thorsten Overgaard
Thorsten von Overgaard is a Danish writer and photographer, specializing in portrait photography and documentary photography, known for writings about photography and as an educator. Some photos are available as signed editions via galleries or online. For specific photography needs, contact Thorsten Overgaard via e-mail.

Feel free to e-mail to thorsten@overgaard.dk for
advice, ideas or improvements.

 

Photo seminars Berlin Copenhagen and Hong Kong

 
           
  · © Copyright 1996-2019 · Thorsten von Overgaard


 

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