Luminous Landscape Forum
The Art of Photography => User Critiques => Topic started by: PhillyPhotographer on July 19, 2009, 05:15:50 pm
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This is a start of a portfolio that will be submitted to LensWork at the end of the year.
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(http://farm4.static.flickr.com/3337/3654724312_8344ee0518_o.jpg)
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(http://farm4.static.flickr.com/3450/3717665168_2271fddf7a_o.jpg)
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Michael, It's one heck of a start. I hope you'll show us more as you go along. Sure beats flowers and birds.
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Not landscapes, but who cares? Great shots & I look forward to you sharing more of the same. BTW, as B&W images go, they are pretty damned good. I'd be interested in some of the technical stuff to do with processing.
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Michael, It's one heck of a start. I hope you'll show us more as you go along. Sure beats flowers and birds.
The work is excellent. Of course, it is silly to suggest that 'flowers and birds' are hardly worthy of being posted.
JMR
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The work is excellent. Of course, it is silly to suggest that 'flowers and birds' are hardly worthy of being posted.
JMR
John, You need to read more carefully. I didn't say that. I said people are more interesting than flowers or birds. Obviously, it's a matter of opinion. If you like the antics of flowers or birds better than those of people, so be it. That's one of the things that makes people so much more interesting than flowers or birds. People are all very different from each other.
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Not landscapes, but who cares? Great shots & I look forward to you sharing more of the same. BTW, as B&W images go, they are pretty damned good. I'd be interested in some of the technical stuff to do with processing.
The photos were shot with a Nikon D300 and a Leica D-Lux 4 with some of the iso as high as 1600, just like my Ben Franklin Bridge portfolio in LensWork last September I cropped the photos square. I learned how to get some interesting effects by lowering the "clarity" slider in Adobe RAW. On some of the photos I masked the musician and really worked on the contrast and structure. I would then dodge and burn to taste and then I warm toned the image using Photokit.
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Some nice work here! Thanks for sharing it...
Mike.
(who also likes flowers and birds )
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(who also likes flowers and birds )
Easy now, Mike. You may have forgotten, but I've posted birds before. Lightroom tells me I have 521 birds and 87 flowers at the moment on my photo drive. I really don't much like shooting flowers because just about any seed catalog can outdo me. But in Florida during the winters I shoot birds often -- but only when I'm not where there are people or interesting artifacts. Here are two of my favorites.
[attachment=15542:Egret_in_the_Sun.jpg] [attachment=15543:Great_Bl...scending.jpg]
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I like these images! They all capture the mood of the artists, they all work. The contrasty b/w processing enhances it. I also like how you play with the tilt. If I where to criticize something, it would be that the vignette appears a bit overdone to me in #3, and, this diagonal "ghost line" to the head of the artist in #8 irritates me. Im wondering if it is an artifact or if it belongs to the image. But these are purely technical aspects.
I also find that #8 is different in its look and mood from all other images because of this glowing light, because of this almost holy appeareance this gives. I have not made up my mind if it doesnt quite fit in or if it is an interesting counterpoint. Probably both.
All in all, very good work!
Christian
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I like these images! They all capture the mood of the artists, they all work. The contrasty b/w processing enhances it. I also like how you play with the tilt. If I where to criticize something, it would be that the vignette appears a bit overdone to me in #3, and, this diagonal "ghost line" to the head of the artist in #8 irritates me. Im wondering if it is an artifact or if it belongs to the image. But these are purely technical aspects.
I also find that #8 is different in its look and mood from all other images because of this glowing light, because of this almost holy appeareance this gives. I have not made up my mind if it doesnt quite fit in or if it is an interesting counterpoint. Probably both.
All in all, very good work!
Christian
You know what's funny, I didn't see that line before, It's on the wall behind him and I will most likely remove it. I didn't add as much vignetting as you would think on #3, the light hitting him was the setting sun coming thru the entrance of a tunnel at my city hall, I just spot metered for the light.
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Terrific work, as always. Thanks for sharing.
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You know what's funny, I didn't see that line before, It's on the wall behind him and I will most likely remove it. I didn't add as much vignetting as you would think on #3, the light hitting him was the setting sun coming thru the entrance of a tunnel at my city hall, I just spot metered for the light.
I think the line is only a slight distraction. Not immeatedly obvious. And after looking again at the "vignette" in #3 I see what you say, the upper left corner shows it. It doesnt change the fact it is a bit too dark for me, but on the other hand one could say, thats just how it appeared.
Cheers,
Christian
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The photos were shot with a Nikon D300 and a Leica D-Lux 4
Beautiful work. Would you tell which ones were taken with the Leica?
Tony
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Beautiful work. Would you tell which ones were taken with the Leica?
Tony
#5 and 8
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Easy now, Mike. You may have forgotten, but I've posted birds before. Lightroom tells me I have 521 birds and 87 flowers at the moment on my photo drive. I really don't much like shooting flowers because just about any seed catalog can outdo me. But in Florida during the winters I shoot birds often -- but only when I'm not where there are people or interesting artifacts. Here are two of my favorites.
[attachment=15542:Egret_in_the_Sun.jpg] [attachment=15543:Great_Bl...scending.jpg]
Not to hijack the thread, but I love the second one, Russ.
Jeremy
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John, You need to read more carefully. I didn't say that. I said people are more interesting than flowers or birds. Obviously, it's a matter of opinion. If you like the antics of flowers or birds better than those of people, so be it. That's one of the things that makes people so much more interesting than flowers or birds. People are all very different from each other.
I have only one further point. I am sure you have noticed this is chiefly a Landscape forum.
On the question of people photography, apart from portraits, events and family gatherings, I find it to be a difficult undertaking. Most of my people images are in a wider context, like in a landscape. There was a whole discussion of this issue - street photography- on the 'The online photographer', and most agreed that it was not easy for many reasons and it took a certain kind of person to shoot on the street. Not the least reason is that a lot of people simply don't want their pictures taken. Sometimes I feel I can take such images, but most times I just back off and respect the space of the people unless given a nod of some kind. I think that is why most of us take images other than street photography.
Just some observations.
JMR
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I have only one further point. I am sure you have noticed this is chiefly a Landscape forum.
On the question of people photography, apart from portraits, events and family gatherings, I find it to be a difficult undertaking. Most of my people images are in a wider context, like in a landscape. There was a whole discussion of this issue - street photography- on the 'The online photographer', and most agreed that it was not easy for many reasons and it took a certain kind of person to shoot on the street. Not the least reason is that a lot of people simply don't want their pictures taken. Sometimes I feel I can take such images, but most times I just back off and respect the space of the people unless given a nod of some kind. I think that is why most of us take images other than street photography.
Just some observations.
JMR
Besides my urban landscape and structure photography I started shooting "street" seven months ago in Philadelphia and NYC. I haven't had one person tell me to not take their picture or acted like they're were uncomfortable. If you approach someone and you yourself seem nervous you will make your subject wonder what your intentions are and most likely trigger an angry response. The best way to go about it is to be fast and confident, most will not even realize that they had their picture taken. Another piece of advice is hide your camera until you're ready to take a shot, people see a camera and they act unnatural and most will try to move because they think they are in the way.
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Besides my urban landscape and structure photography I started shooting "street" seven months ago in Philadelphia and NYC. I haven't had one person tell me to not take their picture or acted like they're were uncomfortable. If you approach someone and you yourself seem nervous you will make your subject wonder what your intentions are and most likely trigger an angry response. The best way to go about it is to be fast and confident, most will not even realize that they had their picture taken. Another piece of advice is hide your camera until you're ready to take a shot, people see a camera and they act unnatural and most will try to move because they think they are in the way.
Michael, I've been doing street photography since about 1953 and I'd say that everything you just pointed out is right on the money. I'd add one point: your attitude is the most important thing. You simply must have a positive and friendly attitude toward all the people around you -- not just the ones you want to photograph. I'm not too sure about the idea of hiding the camera. When I was shooting with Leicas I used to carry the camera in my hand, attached to a wrist strap, and even now, if I'm shooting with my R-D1 I carry it in my hand. But I also often do street photography with my D3 and a 50mm prime lens, and carry it on a strap over my shoulder. Carrying it that way I can raise it with one hand and shoot. It doesn't seem to bother people or attract much attention -- unless I run into an equipment-fanatic type photographer.
On the other hand, as I said in an earlier post on a different thread, the people I photograph rarely realize they've been photographed, even when I'm shooting face-on. Here's a classic example. These two were in a flea market dressed and behaving in a way that made me want to get a photograph of them together. I followed them around for a while but couldn't get in position to get a shot, so I went and sat down on a bench. Mirabile dictu, in a minute, they came and sat down on a bench a few feet away facing me. I made, I think, four exposures. They never knew they'd been shot (so to speak). You can see how close I was when you realize I was shooting with a full-frame D3 and a 50mm prime lens. Even with the small 50mm the D3 is a big hunk of iron, but I don't think they ever even saw the camera, which was reposing in my lap when it wasn't at my eye.
[attachment=15548:Flea_Market.jpg]
I really love the expressions I caught in this one.
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I have only one further point. I am sure you have noticed this is chiefly a Landscape forum.
On the question of people photography, apart from portraits, events and family gatherings, I find it to be a difficult undertaking. Most of my people images are in a wider context, like in a landscape. There was a whole discussion of this issue - street photography- on the 'The online photographer', and most agreed that it was not easy for many reasons and it took a certain kind of person to shoot on the street. Not the least reason is that a lot of people simply don't want their pictures taken. Sometimes I feel I can take such images, but most times I just back off and respect the space of the people unless given a nod of some kind. I think that is why most of us take images other than street photography.
Just some observations.
JMR
John, Yes, I can see that, though I'd probably call it a bird and flower forum as much as a landscape forum. I think the main reason it turns out that way is that most people find street photography a difficult and scary undertaking. I don't think it takes a certain kind of person to do it, but it is difficult, and it takes a lot of practice before you can do it comfortably. One of the main problems is that you don't get time to set up a shot the way you can when you're doing landscape. You absolutely must respond intuitively and immediately to what you see before you. I don't agree, nor does Michael, that most people don't want their pictures taken, but that's what a lot of photographers want to believe, because it gives them an excuse not to do what they're uncomfortable doing. I enjoy shooting structures and artifacts, especially old ones, and I occasionally shoot a landscape, though I don't do it often since I gave up my 4 x 5 view camera, but as far as I'm concerned, people are where the real photographic satisfaction resides.
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John, Yes, I can see that, though I'd probably call it a bird and flower forum as much as a landscape forum. I think the main reason it turns out that way is that most people find street photography a difficult and scary undertaking. I don't think it takes a certain kind of person to do it, but it is difficult, and it takes a lot of practice before you can do it comfortably. One of the main problems is that you don't get time to set up a shot the way you can when you're doing landscape. You absolutely must respond intuitively and immediately to what you see before you. I don't agree, nor does Michael, that most people don't want their pictures taken, but that's what a lot of photographers want to believe, because it gives them an excuse not to do what they're uncomfortable doing. I enjoy shooting structures and artifacts, especially old ones, and I occasionally shoot a landscape, though I don't do it often since I gave up my 4 x 5 view camera, but as far as I'm concerned, people are where the real photographic satisfaction resides.
You and Michael should check out the thread at TOP. My recollection is that most people were not only not comfortable shooting people on the street, though some were, but they too did not like having their photos taken, especially in any aggressive way. About twenty years ago my experience was that few people complained, except maybe to ask the purpose of the photo. Now many say things like "are you shooting me?" Though I sometimes shoot these kinds of images in passing, if I happen to be somewhere, I do not seek them out or have any desire to do so. I think some of your experiences are different than mine and I guess I will leave it at that.
JMR
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Thanks for sharing RSL.
I kept being turned down when asking to shoot in certain abandoned buildings and factories in Philadelphia so i started shooting street in my own special way. I'm so glad I decided to do it. It has taught me to think faster, to look for light, to look for shadows and try to predict what's going to happen. I've also learned to look from behind, the side and far away.
(http://farm4.static.flickr.com/3351/3254633280_4fb4154c53_o.jpg)
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Michael, Keep it up. If you're like me you'll enjoy it more and more as time goes on.
One mistake I've seen people make when they're uncomfortable with street shooting, but secretly would like to do it: they start out by using long lenses, hoping they can shoot from a distance and not be noticed. That doesn't really work. You're just as likely to be noticed at a distance if you're carrying around a long lens as you are at closer quarters with a short one. In addition, when you try to do street with long lenses you end up with perspectives that are unnatural and give the game away.
Street, by the way, doesn't always have to include people. Your "Elevator" is a good example. It's first class street shooting.
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Besides my urban landscape and structure photography I started shooting "street" seven months ago in Philadelphia and NYC. I haven't had one person tell me to not take their picture or acted like they're were uncomfortable. If you approach someone and you yourself seem nervous you will make your subject wonder what your intentions are and most likely trigger an angry response. The best way to go about it is to be fast and confident, most will not even realize that they had their picture taken. Another piece of advice is hide your camera until you're ready to take a shot, people see a camera and they act unnatural and most will try to move because they think they are in the way.
I first wanted to ask how you approach you subjects, wondered then if my question would make sense (because at the end everybody has to find its own approach), and now as you tell it I find it is exactly the same way how I did my few good street shots. Just be confident. (Not that I want to compare myself with you, but just had to say this ) In any way, your images are just great, really inspiring for me!
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I first wanted to ask how you approach you subjects, wondered then if my question would make sense (because at the end everybody has to find its own approach), and now as you tell it I find it is exactly the same way how I did my few good street shots. Just be confident. (Not that I want to compare myself with you, but just had to say this ) In any way, your images are just great, really inspiring for me!
As for the street musicians I would have the camera in front of me, I would "tip" him first and then take a couple of photos. I've had conversations with them and when I see them again we usually wave or chit chat. I've met some great people since I started doing this, for instance photo #7 is YaYa from the Sun Ra Arkestra who was practicing on the street the night before his concert. As for my other street photography sometimes I would approach the subject and sometimes i would wait for them to approach me. My main lens is a Nikon 17-55mm 2.8 and at 17mm i usually shoot so close that most people think I'm shooting past them. I'm never overly aggressive and I try to blend in as much as possible, it's one of the reasons I like the Leica D-Lux 4, nobody sees it and no shutter noise.
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As for the street musicians I would have the camera in front of me, I would "tip" him first and then take a couple of photos. I've had conversations with them and when I see them again we usually wave or chit chat. I've met some great people since I started doing this, for instance photo #7 is YaYa from the Sun Ra Arkestra who was practicing on the street the night before his concert. As for my other street photography sometimes I would approach the subject and sometimes i would wait for them to approach me. My main lens is a Nikon 17-55mm 2.8 and at 17mm i usually shoot so close that most people think I'm shooting past them. I'm never overly aggressive and I try to blend in as much as possible, it's one of the reasons I like the Leica D-Lux 4, nobody sees it and no shutter noise.
I see. Thats obviously a bit more than just being confident. I must say I had so far only sometimes the courage to try it really seriously, but then it was fun! My "tactic" so far was trying to get eye contact and smile, and then just do the shoot. Works sometimes very good, I had good cases where I was accepted and could shoot anything, but it also happens that the people get uneasy about it. Maybe these are the cases where I just need to talk with people, but Im quite shy. Seems I have to get over it...
Cheers,
Christian
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I see. Thats obviously a bit more than just being confident. I must say I had so far only sometimes the courage to try it really seriously, but then it was fun! My "tactic" so far was trying to get eye contact and smile, and then just do the shoot. Works sometimes very good, I had good cases where I was accepted and could shoot anything, but it also happens that the people get uneasy about it. Maybe these are the cases where I just need to talk with people, but Im quite shy. Seems I have to get over it...
Cheers,
Christian
I was a bartender for 14 years so I got use to talking to strangers from every walk of life, it will get easier for you the more you do it. You have to remember it can take a lot of exposures to get one good shot and that can turn a lot of photographers off from even trying it.
PS if you're going to alert people to your intentions you have to make them feel like you're sharing their space instead of violating it.
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Thanks for all your advice Michael. This thread has been (or better, IS) very useful for me regarding vision and approach. Will take some time to digest I know I will re-read it later.
Best regards,
Christian
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Another musician from today.
(http://farm4.static.flickr.com/3511/3746272155_bc1b22569c_o.jpg)
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This is a very strong set of images, I agree you're off to a great start and these should have an excellent chance of getting published in Lenswork.
The only two that bug me in the first set are the third one (don't like the heavy vignette) and the 8th one, which looks like it had some diffusion glow added in post that I don't think is necessary. But the processing and monochrome conversions on the others are all very good.
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Is this better ?
(http://farm3.static.flickr.com/2551/3748601045_e74bbc6c47_o.jpg)
(http://farm4.static.flickr.com/3604/3673393927_6b233a6bdd_o.jpg)
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I also reworked the photo that had very low clarity (glow) and used a high structure instead.
(http://farm4.static.flickr.com/3422/3748652859_aefeef1057_o.jpg)
(http://farm4.static.flickr.com/3450/3717665168_2271fddf7a_o.jpg)
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For #3 I dont see a visual difference at a first glance when comparing them in this web view. I see however what you have done when I layer them and do on/off switch. It looks as if you threated the different corners differently, leaving the upper right corner as in the original. The new version becomes more "uneven" for me. What I probably would have done, threat the upper right and the lower left corner the same as the lower right one, and leave the upper left like in the original. The lower right one is very good.
For #8, the new version is just perfect, fits now perfectly into the rest. The impression of a "dull" background (wich I didnt mentioned before but wich was apparent for me) is now gone.
(I think I will later also comment your newer images but not now, Im in a hurry.)
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I think they are both improved, especially the flutist, which was the only one that bothered me before. The glow around his head and flute looked very fake before.
This is a very nice series. I hope Lenswork goes for it.
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Michael, It's all very fine work. Besides LensWork you might think about B&W the next time they have a portfolio contest.
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The new edit of the flute-player is much better IMHO, and it also fits better visually with the other images in the series now.
For the one with the heavy vignette, the bottom right corner is now more what I had in mind. But the bottom left and top right corners are still very dark. I'm not sure if that's something about the conditions you shot in or just a choice in editing, it just seems little heavy to me. But it's not a huge deal.
I also really like the last shot you posted, excellent detail and tonality.
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Thank you guys, I removed all the vignetting that I added so what you see if how it actually was.
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Just a few quick words about the four last images, I absolutely like them, maybe even more than the first ones. All views are somehow very clear and articulated, and each one tells a story. I like the old walking man with the umbrella most, not sure why, its just very strong! Also the relaxed young black musician, a joy to view.
Christian
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That umbrella photo creates lots of motion- you've put together quite a shot here.
The arrows and the angle of the umbrella create a line from top right to bottom left, while the parallel relationship of the umbrella to the arrows implies another line (perpendicular to the first line), moving from top left to bottom right.
The central framing of the sign and the man is nicely balanced by the asymmetry of the fire hydrant and the snow pile in the bottom left corner, as well as "twelfth st" located mid right. All of these factors keep the eye moving like a pinball!
John
Edit reason: syntax
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That umbrella photo creates lots of motion- you've put together quite shot here.
The arrows and the angle of the umbrella create a line from top right to bottom left, while the parallel relationship of the umbrella to the arrows implies another line (perpendicular to the first line), moving from top left to bottom right.
The central framing of the sign and the man is nicely balanced by the asymmetry of the fire hydrant and the snow pile in the bottom left corner, as well as "twelfth st" located mid right. All of these factors keep the eye moving like a pinball!
John
Thank you very much.
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Michael, It's all very fine work. Besides LensWork you might think about B&W the next time they have a portfolio contest.
Thanks, I always seem to miss B&W's portfolio reviews. When the portfolio reaches 20 I'm going to submit it to Nazraeli for a "One Picture Book"
(http://farm4.static.flickr.com/3433/3749740521_09c3ff2279_o.jpg)