>>> Street Photography eXchange #48 <<<
Someone was telling me today about Jay Maisel as a teacher, how he is very good, but very honest and brutal. Not everyone can take it.
Like me, Jay grew up in NYC, went to college where I grew up and went to grad school where I went undergrad, and lives on the eastern side of Soho while I live one block south of him, but on the west side.
So part of it is cultural. The NYC style is not to waste too much time on niceties. And part of it was to get your attention to the cold, hard necessary facts that could really help you.
Everyone's opinion is valuable, but not everyone's opinion is equal. Chris is very experienced in practicing and teaching photography for many years. Al Bobkin is a very fine artist, with or without a lens. Zubu is a very proficient art restorer with a deep background in photography. Sal, although a beginnerish street photographer, as am I, has decades as a highly trained classical musicianship teaching her about professionalism in the arts.
So when Al here likes the shadows on my photograph, it means it has graphical qualities that please an accomplished artist. --One thing I struggle with is pleasing the pros, who prefer graphical excellence, vs. capturing thoughts and feelings and the face of life, in work that is less graphically accomplished. This ain't easy. --And last week, when Chris suggested I alter the saturation/vibrance values of a shot, I understood what he said, because it was taught in a course, and I've started paying a little more attention to that. Comments like this are worth 10,000 "I like your photo," "great work," "why do you shoot pictures like that?" kind of comments.
So in this line of work there is both equality and hierarchy. All of us are equal in the sense that we have unique souls trying to find expression in photography. However, while we are all on an infinite journey, some people have been at it longer, or with more discipline, and they can provide guideposts in how to make the next step, if they care to tell us.
Learning to deal with tough, but thoughtful negative comments is part of the journey. If you keep talking as if you know as much about photography as Chris, for instance, it will only hold you back. Chris and I see many things very differently, and have not been shy about disagreeing. But when he talks as a teacher, it pays to shut up and listen. I am certainly deep in his debt. Likewise when I think about how Al composes his works with originality and effectiveness, it improves, not my eye so much, as my effort. Sal inspires just because she has such a beautiful soul, and a tart mind that she keeps well in check.
I swatted at you because you need to develop your critical sense, to stop and think: Am I being sloppy? Am I being quick and foolish (ie the horizon argument.) We all have stuff rush into our head, and we have to learn to edit it before expressing it.
You have shown you can do that, on second thought, which is very much to your credit. If I were to light a candle for you, it would be that you learn to wait for your second thoughts before posting. They are *much* better than your first ones.
Did you see my other post showing an almost identical capture by someone else? There is curvature combined with distant atmospheric conditions at that location. As its obvious that my subject is sitting squarely upright, there is no other plausable explanation.
in any event its a moot point. I am happy with it. It's sold numerous times. I appreciate but respectfully decline your edit. I would have appreciated your views on the subject matter, the lonely girls expression, much more than a dissertation on physics and geometry.
This is a simple, straight forward composition. I was baffled by your and fad's attack of my ability or willingness to edit an image when needed especially as it seems neither of you fully comprehnd the conditions that presented themselves to me. I would have thought the second almost identical image, posted from a google search, would have led you to another conclusion.
Anyway, I'm tired of defending a perfectly fine image. You guys can think whatever you like.
You are entitled to your point of view. But it makes me sad.
Cool composition, but this is the inverse of a flash photo, where the near elements that are closer to the flash are arbitrarily brighter. The tones fight against the natural subjects of the image, and that is painful for the viewer.
Just a simple crop to reduce negative space and make it more dynamic. The couple are now in better balance with the tree, and the finger pointing becomes more consequential.
A b/w version for those of you averse to strong reds but this time using the red tones to lighten up the wooden structure so it doesn't get lost against the dark band of mountains.
I'm an old, hotheaded Irishman. Hard for me sometimes to not knee jerk a reaction. Thanks for being civil this time but I must admit that I have NEVER responded well to attack or smear tactics, no matter how well intentioned. Its an old school tactic designed to instruct through humiliation. Phooey! Had enough of that back in art school in the 60's.
Plus as Weegee dredged up yesterday, I'm older. Old and experienced. I think some here thought I was a pup just starting up. I admit to being immateur but I am 66 years old and have been around art and photography long enough to have personal aesthetics sorted out.
An example is this thread. I'm not blind or lazy. If I put up an image with what could be misinterpreted as a crooked horizon line, especially one so far off; you should appreciate that it was intentional. At that point we could enter a friendly, non- insulting discussion if you like as to why I didn't edit It level.
That's the way I like to roll anyway. Treat one another as equals not student / master.
you can't teach an old dog new tricks? ; )
very well done. pretty much all the elements come together there. i might try brushing on a little bit more contrast over the upper half of the eyes, and maybe dodge out some of the pup's face.
A little harsh for my taste but thanks for chiming in. One of the attributes I liked about this shot was the soft morning light and how that played on the girl on the wall. Also a little too tight a crop for me. With a wider view you get the feeling of expansive space on top of Haleakala which is one of the key attributes of the shot.
My gear list: D40 / D70s / D200
A bunch of lenses
i do like the second version even better, minor though the edit is.
i wish there had been an opportunity to highlight the similarity between the pattern on the ceiling of the car, and the accordion's keys. as it stands, it is implicit, but not fully realized. i can't see how it would have worked out, though.
overall, i think the shot is quite nice.
|Abstract bokeh by Minas_Eye|
from Your City - Bokeh in the City (Rerun)
|Green Tree Frog by BruceRH|
|Custom Red Roadster by Mitchmeister|
from Car Shows 2018