No subject, no story

Bob Tullis wrote:

We're dealing with funeral arrangements since last night, and I put this together earlier this morning before we had to run out (put I forgot to click on 'post'). I'll get to the other responses later.

Jalywol - This was a night shot, all light being from the street.

Ramish, Peter, Ludwig, Geoffrey, RRR - very much appreciated, thank you.

Zkz5 - I know what you mean. It was the bridging and shadows that made me stop. I took a quick one before the folks behind me would have walked into the scene, but then I spied the father/son couple down the street - waited a few moments until they were framed in the bright behind them, and altered position so the character farther behind them was separated from their forms, but then the couple on the street were in view.

Back at home I was initially disappointed for the street couple. Could have been better if the male wasn't X'd by the bridging support, if they were included at all. I did consider isolating the sidewalk view under the bridging, but then I thought the coming/going of the couples might be a play on the "coming/going" of the shadows on the sidewalk. Whatever - just the thought processes laid out for whatever that's worth.

Steve - Yes, me too. Those starlight effects are introduced early stopping down from wide open using the 17.5/0.95, and it's one of the characteristics of the lens that I find endearing for night hand-held work.

Ann - thanks, and the feeling is mutual.

Onlooker - I wondered if those would be overlooked. . .

Airless - yes, really. Even with this intention I shoot RAW as well, in case it would be better for a mono conversion, but I also shoot with the mindset that there's a potential for two versions (if not more) of an exposure. Dramatic mono is a passion of sorts, and sometimes color can be a distraction. The mix of the types of street lighting that one encounters today can be confounding at times too. It appears you just don't care for B&W work, or am I wrong? Nothing wrong with that, but tastes will vary for reasons one may or may not be able to define. (I hate carrots, BTW. No offense to those that don't feel the same [g]). For your consideration, one in color is below based on a Portra 800 (?) VSCO film style.

Grapher - that's the thing, and I should have made it clearer (to myself as well), I was asking about thoughts along this line. Proper practices and approaches suggest there be a plan or intention for an exposure as it's being contemplated. More oft than not I I only look for a theme or story after the fact, even studies where time is taken. A bass-ackwards approach, but that's me all over [g]. When I hear some lectures given to newcomers to the practice. . . this is my response to that which I didn't have the wits about me to convey at those times.

Roel - "The others are good, but there is less connection with a specific moment."

There are some simple phrases that help me a lot with the things I wrestle with in myself. This is one of those - thank you.

--
...Bob, NYC
http://www.bobtullis.com
/"Well, sometimes the magic works. . . Sometimes, it doesn't."/ - Little Big Man
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