I
find it impossible to choose a favorite or best shot. This particular photograph almost didn’t make it into my current exhibition. However, while I was preparing for the opening, I showed it to a few visitors and asked for their thoughts. One elderly lady posed an intriguing question, “Is it a greeting, or is it parting?” As she examined the picture, she sensed that it represented more than just a casual separation; it conveyed something deeper. Another woman commented, “It’s ageless love, isn’t it? Ageless love is what’s depicted here.” These responses made me wonder if the two couples in the photo were part of the same family and if it was the women who were going away, as they were the ones with the bags. There’s a great deal of ambiguity present in this image.
I always carry a camera with me. In 2017, when I captured this picture, I had just finished teaching in Colwyn Bay and was waiting at the train station to head home. It was evening, and I had my camera in hand as I stood on the platform. Instead of immediately boarding the train, I remained observant of my surroundings. I wandered around and discreetly took a few pictures, striving to blend into the background. Once on board, I continued photographing the landscapes outside the window.
When I first began candid photography, I used to rush and attempt to remain unnoticed, but I would fail almost every time. One disapproving look from a subject could ruin the entire picture. Drawing from my skill in table tennis, a sport that demands constant movement and agility, I adopted a similar approach in my candid photography. It’s not a methodical process; it’s almost like a dance. When I’m truly in the flow, I forget what I’m doing and feel as if I’m floating. Later, when I review the results, I’m often surprised by the magic captured in the image. If I could predict the outcome beforehand, the process would be pointless. The element of surprise is what makes it significant.
There are other aspects of this photo that I appreciate. I love how the woman in the foreground rises onto her tiptoes for the kiss, and I find the way the man’s fingers press into her sides, and her fingers into his cheeks, quite intriguing. Additionally, there’s the woman with the banana sneaking into the left side of the frame. She appears to be lost in her own world, enjoying a private laugh about something. The repeating colors of yellow, turquoise, and red also enhance the composition.
This photo is part of a series titled Snatch Out of Time. I derived that phrase from Patrick Kavanagh’s poem “The Hospital,” written during his treatment at St James’s Hospital in Dublin. Despite the poem’s positive tone, the last two lines emphasize the need to capture the fleeting and passionate moments that love brings. What could be more fitting for photography? When taking a photograph, it’s not just about freezing a moment; you must also feel it. It needs to hold personal meaning and evoke passion within you. Yet, we are aware that life is transient, and that makes seizing those moments all the more critical.
As this picture was taken in Wales, I gave it the Welsh title: “Ta-ta rŵan” – Goodbye, now. Sometimes the title becomes an integral part of the image itself. My wife’s late friend had a talent for coming up with great titles for my photographs. In the exhibition, there’s a portrait that could have easily been seen as the standout, featuring a man and woman standing next to a car with their son inside, looking out. She titled it “Their Pride and Joy.” The title could refer to the boy, the car, or even the woman’s prominent bust. Although that lady has since passed away, she lives on through that photograph. When I look at all these people, I still feel indebted to them.
Tom Wood’s CV
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