>>> Street Photography eXchange #85 <<<
>>> Street Photography eXchange #85 <<<
10 months ago
SPX is a place to post examples of your recent street photographs for feedback, discussion and critical appreciation.
PLEASE post new photos as a reply to THIS MESSAGE directly, to help keep the thread organized and readable! Posting in “threaded view” will make immediately clear to you where you want your reply to be appended when responding to other photos and comments.
The street photography we love encompasses a wide variety of styles and subjects, but usually centers on spontaneous shots of people in public. You can emphasize personalities and expressions, momentary juxtapositions, form, composition, color; you can record life as it is lived, or flashes of the surreal, or moments of transcendence. Among the pioneers of the genre are Henri Cartier-Bresson; Helen Levitt; Robert Frank; Garry Winogrand; Mary Ellen Mark; and certainly many more. Street photography would not be what it is today without them, and no doubt is on its way to becoming something else again, with your help.
This is intended as a serial, ongoing thread, and will be replaced whenever the 150 post limit is approached; past threads will be numbered and linked in the current active thread.
As a continuous feature, the goal is to sustain an ongoing discussion and exchange of ideas and inspiration about street photography, as well as to get to know other photographers a little better. Everybody with an interest in SP is welcome to post photos, write comments and critiques, or just to lurk; please don’t be shy about participating in whichever and however many ways you like! But, posting your own photos helps people to understand where your comments are coming from, and commenting on other’s work can help us to see where your own pictures are coming from... so we hope you decide to do both.
SPX is an excellent place to share your latest favorite shot, the beginnings of your newest project, the discovery of a new approach to making the shots you want to make. Sharing works in progress, as opposed to completed portfolios, is encouraged; you can expect some genuine, hard, but positive critique here, and commenters will be able to fulfill that expectation better if you post no more than 1-3 photos at a time.
post links to resources and subjects of pertinence to street photographers here.
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SPX #84 : the SPX thread immediately preceding this one.
genealogy : various links and resources to some of the dpr street photography threads that came before SPX.
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The blacks are really deep and overpowering here. Was that your intention?
Yes because i was trying to put them as silhouettes against the late afternoon sun, suppose i could have lifted the shadows a bit though.
while i like the proportions of sky/sea/land in the frame, it is a bit infelicitous for silhouette--the human figures get kind of lost amid the rocks to the right, and water with/without detail. otoh, i like the shadows against the fg. so, in this case, i would agree either that you could try lifting the shadows a bit more (the near side of the figures, not the shadows they cast on the ground), or else maybe tried getting a bit closer and lower to really silhouette their outlines against the sun, rather than against the horizon below the sun.
i do generally think that this scene has an interesting potential, partly because of the way the ground looks like the back of a whale...
that's the sort of character we all love to encounter, and you have him in an excellent phase of his stride. i really wish either you were standing two steps to your right, or had snapped a moment sooner, as he kind of looks like he's smacking into the traffic light pole behind him, which interrupts the energy he brings to the frame. but, you have a good clean bg for him to be outlined against, and the guy at the left kind of works, so perhaps i am being too picky.
one does get a sense of bygone times looking at what is also clearly a contemporary shot, which is always interesting.
lovely reflection, lively expressions.
i would not hesitate to crop a little off of the right and bottom. try a line running just to the right of the first side car window point, just to the right of the drum, and then up from the bottom to make the curb line run precisely into the corner.
a slight change, but to me it helps push the bald figure definitively off-center, which gives more weight to the boy.
There's a lot of potential in this photo, I just wish I could see the kid a little better. I understand wanting to bring out the drama in the dark sky. But the vignettage feels too heavy. Lifting the shadows to bring some detail and light into the kid and the tree in the foreground could make this one a winner.
A suitably tangled guide to the legality and liabilities of public photography in italy.
Here's hoping it is of no use to anyone. That is, that no photographer has occasion to avail themselves of the advice and procedures therein, since that would indicate they have already fallen into a possibly bottomless quasi-legal pit.
Marvelous expressions. The moment and arrangement work very well.
I am not sure you need the bottom of this--cropped below the elbow of the woman on the right, the expressions are emphasized even more.
I'm not a big fan of tattoo's. But in this case I think they add something to the ambiance of the photo... these are care-free fun loving girls out having a good time. So I don't agree that cropping off their legs is gonna improve this photo. I like it as it is.
Zubu Barunda wrote:
I see Chris's point. But the thigh-grab is also the point of the photo. And the vertical line of her arm and leg forms the base of T, of which the laughing faces form the top. One senses the power of the humor affecting the entire body. A very perceptive shot.
A very Wyeth moment, joyful and ominous.
Barefoot in the Rain
A touching figure, protected from the elements above, but joined to them below.
The picture is unbalanced by the negative shadow space to the right. I would crop it to make it harmonious with the shadow element on the left so the eye gets pulled through them to the figure in the middle.