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What struck me most in selecting these is Doris' use of bold color; clean use of formal composition;  the focus on eyes and the human element (this speaks to Doris and his personality - despite the sour countenance projected he is a true softy when it comes to the human condition, and to kittens. well okay, forget kittens.


green men. two warm-tone ellipses floating in front of cooler greens and blues. It's all shapes and colour, simple, no clutter, lots of tension built by positive space (faces) juxtaposed over negative (the brightness of the green).  The more I look at it, the green cans remind me of eyes, the rectangles are like eyebrows. Who spiked my Bosco this morning?. There is the human element: the crew intently watch the monitors, maybe wondering, Is our driver faster in this sector? Will he clear slower GT cars before they get to Porsche Curves? Will this photographer please leave so I can stop pretending to be busy and grab a cuppa and some biscuits?


The Eyes Have It. As in the image above, everything is reduced to a minimum. no distracting elements, only blocks of colour surrounding and supporting the intense gaze of a man about to go on a mission. Dimitri Enjalbert.


The crew of the Beechdean Aston Martin swarm over it during a pitstop.  I like how the crew bent over their work, their attention is focussed on completing their jobs and getting the car circulating again in as little time as possible. Doris's use of a long lens and large aperture stacks the elements within the frame while blurring the background completely out of focus, keeping the viewers' eye on the car and what is happening around it. The iconic blue and orange of Gulf might have something to do with the appeal of the images as well.


Speed Racer.  Stephane Sarrazin should be in the top five of anyone's best of sportscar racing drivers the last five years. But this isn't why I like this image. Things work in reverse in this photograph: the  brighter areas of the Starworks HPD become negative space while your eyes travel to the dark helmet and Stephane's upward-gazing eyes. the red lines in the image frame the focal point. The white lines of his helmet. if extended, would bisect his eyes. These lines bring the viewer's gaze directly to the focal point, his eyes. Doris has framed this image very well, placing the subject at the edge of the frame.


Star Wars is an oft-repeated phrase regarding the look of contemporary sportscar prototypes. Doris traveled into the deep dark woods before Indianapolis corner to make this moody, somewhat surreal image in flat evening light. The beasts, captured here at 200 mile per hour, look like Jedi fighters, seeming as if they could peel away from the earth to streak skyward in pursuit of death stars and Darth Vader.  Toyota, late on the scene and lacking development, rocked the sportscar racing world at Le Mans when one actually led the race for a time.


Somebody Stop Me. I couldn't pick just five.  Doris' images retain an air of simplicity. Is this an indication of a simple mind? Thusly, does it then affect the subjects who appear before his camera? There is nearly a complete lack of curves here; this image is composed of rigid vertical lines. I love that. Is this another indication of Doris' (rigid) thinking? And a similar, rigid effect upon his subjects?  Draw your own conclusions.


I cannot let this review go without a black and white image from Doris. It appears there were few b/w photos in his galleries this year. A Pity. But as in previous years Doris has made several aesthetically pleasing images of grid girls and the like. And this is A Good Thing.