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Author Topic: Pausing  (Read 941 times)

stamper

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Pausing
« on: January 10, 2019, 06:38:05 am »

? or !

francois

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Re: Pausing
« Reply #1 on: January 10, 2019, 07:54:22 am »

Great title for this superb shot...
Bravo!
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Francois

Eric Myrvaagnes

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Re: Pausing
« Reply #2 on: January 10, 2019, 08:27:53 am »

It is superb.
The lonely people in your photos are always expressive, never just "stick" figures.

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RSL

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Re: Pausing
« Reply #3 on: January 10, 2019, 08:43:50 am »

Another fine (real) street shot, Robert. Bravo!
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Ivophoto

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Pausing
« Reply #4 on: January 10, 2019, 11:32:57 am »

It is a decent photo, no arguing.

But, please explain why this is Ďfine realí street and this isnít:


Photo by Adam Krawesky
« Last Edit: January 10, 2019, 05:42:44 pm by Ivophoto »
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RSL

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Re: Pausing
« Reply #5 on: January 10, 2019, 12:08:33 pm »

I'm afraid it's hopeless, Ivo. You'll never understand the difference. But I'm quite sure Robert understands the difference.
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stamper

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Re: Pausing
« Reply #6 on: January 10, 2019, 12:18:07 pm »

The understanding I have is a gut instinct that I find difficult to explain. Ivo's image would be better in B&W imo and the perspective could be straightened up which means more impact. The image has potential?

EricV

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Re: Pausing
« Reply #7 on: January 10, 2019, 12:58:36 pm »

Convert to B&W, add simulated grain, jack up the contrast, make sure there are lots of solid blacks :)
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RSL

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Re: Pausing
« Reply #8 on: January 10, 2019, 01:45:11 pm »

One difference is that Robert's shot is fluid. The other picture is static. It looks -- feels -- posed.
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Eric Myrvaagnes

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Re: Pausing
« Reply #9 on: January 10, 2019, 03:05:35 pm »

I'm afraid the man in Ivo's photo is, to me, a "stick" figure. He's just standing there reading a note on a door, without (as far as I can see) expressing any emotional response at all.
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faberryman

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Re: Pausing
« Reply #10 on: January 10, 2019, 03:10:22 pm »

I'm afraid the man in Ivo's photo is, to me, a "stick" figure. He's just standing there reading a note on a door, without (as far as I can see) expressing any emotional response at all.
It seems to me the guy in the first photo is just looking at his phone.
« Last Edit: January 10, 2019, 03:20:03 pm by faberryman »
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32BT

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Re: Pausing
« Reply #11 on: January 10, 2019, 03:22:21 pm »

The first thing that came to mind when I saw this image. Apologies to the OP...
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32BT

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Re: Pausing
« Reply #12 on: January 10, 2019, 03:28:15 pm »

I'm afraid the man in Ivo's photo is, to me, a "stick" figure. He's just standing there reading a note on a door, without (as far as I can see) expressing any emotional response at all.

In an image that is about "squares" and triangles, the pose of the "stick" figure seems quite appropriate.
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Ivophoto

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Re: Pausing
« Reply #13 on: January 10, 2019, 05:38:05 pm »


Honestly guys. ....

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drmike

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Re: Pausing
« Reply #14 on: January 11, 2019, 03:23:06 am »

I dare say I will regret adding to this and no offence is intended but ...

Stamper's image is undemanding, conventional converging lines and oh look there's a person there. The closer figure gives scale and breaks the lines. As I say no offence but it's an easy shot. Easy to see and take, surely we all have shots like that? It's also easy to view - perhaps I'm dense but I can't see anything to provoke thought or indeed to reward me for viewing. Well done though in its own way.

I can't say that I feel the figure in Adam's shot adds much to the image (although it probably needs something there) which seems to me to be more geometric than human so in that sense I could understand it doesn't fit everyone's view of street. It's also the least good of his shots that I have seen. They are great, they were not easy to see or capture and they offer reward both visually and at a human level.

I may have missed why this shot was chosen and I'm sure I'm being crossed off Christmas card lists :)

Oh and as ever I don't give a fig for labels and genre.

Mike

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john beardsworth

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Re: Pausing
« Reply #15 on: January 11, 2019, 04:21:47 am »

But, please explain why this is Ďfine realí street and this isnít:

Nowadays some established UK practitioners, guys who re-popularised "street photography" in this country, are referring to it as "candid public photography". I find that pretty convincing, as it distinguishes it from photography that merely shows something in a street. (See here for street photographer Nick Turpin's thoughts)

But I would also define the "street photography" style as including an element of irony or humour or something that provokes questioning. After all, a photojournalist would also do candid public photography. What makes a picture "street" is some sort of amusing meaning and relationship between the elements of the frame.

So to get to your question, it's that second aspect that makes Stamper's photo more "real street" for me, and that's principally because the man's head is slightly inclined, making the viewer ask "what's he saying?" or noticing the contrast. I think it could do more of this, for example if the man was twisting his body and apparently/unwittingly countering the rigid lines, but I think there is less irony for the viewer to chew on in your image (no offence intended).

John
« Last Edit: January 11, 2019, 04:30:59 am by john beardsworth »
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faberryman

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Re: Pausing
« Reply #16 on: January 11, 2019, 04:38:41 am »

So to get to your question, it's that second aspect that makes Stamper's photo more "real street" for me, and that's principally because the man's head is slightly inclined, making the viewer ask "what's he saying?" or noticing the contrast. I think it could do more of this, for example if the man was twisting his body and apparently/unwittingly countering the rigid lines, but I think there is less irony for the viewer to chew on in your image (no offence intended).
He's just looking at his phone. Nothing more prosaic than that.

32BT

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Re: Pausing
« Reply #17 on: January 11, 2019, 05:49:46 am »

He's just looking at his phone. Nothing more prosaic than that.

+1

And even if he isn't, and instead lighting a cigarette or something, ambiguity is not the same thing as confusion. The fact that we don't know something, doesn't elevate something to art where everything is open to question but void of learning.

There could have been a shot there perhaps if the figure at the end ("in the dark") was more visible and for example a mirror of the person "before the dark". You know, alluding to the doubt prior to diving into the unknown. That would give us something to chew on that would appeal to our empathy (for this particular individual) and to life in general (the anonymous individual being representative for all of us).
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john beardsworth

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Re: Pausing
« Reply #18 on: January 11, 2019, 05:54:11 am »

He's just looking at his phone. Nothing more prosaic than that.

That's what you think.

There could have been a shot there perhaps if the figure at the end ("in the dark") was more visible and for example a mirror of the person "before the dark". You know, alluding to the doubt prior to diving into the unknown. That would give us something to chew on that would appeal to our empathy (for this particular individual) and to life in general (the anonymous individual being representative for all of us).

Agreed.

RSL

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Re: Pausing
« Reply #19 on: January 11, 2019, 07:19:51 am »

Nowadays some established UK practitioners, guys who re-popularised "street photography" in this country, are referring to it as "candid public photography". I find that pretty convincing, as it distinguishes it from photography that merely shows something in a street. (See here for street photographer Nick Turpin's thoughts)

But I would also define the "street photography" style as including an element of irony or humour or something that provokes questioning. After all, a photojournalist would also do candid public photography. What makes a picture "street" is some sort of amusing meaning and relationship between the elements of the frame.

So to get to your question, it's that second aspect that makes Stamper's photo more "real street" for me, and that's principally because the man's head is slightly inclined, making the viewer ask "what's he saying?" or noticing the contrast. I think it could do more of this, for example if the man was twisting his body and apparently/unwittingly countering the rigid lines, but I think there is less irony for the viewer to chew on in your image (no offence intended).

John

Well said, John. You hit the nail on the head.
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