London Street

Thats a proper evil eye in the first.
Do you raise the camera to your eye or tilt the screen?
 
Cockney said:
Thats a proper evil eye in the first.
Do you raise the camera to your eye or tilt the screen?
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Not sure about evil :) I raised it to eye level, sitting down. I think I just used the rear lcd for that one, but it's not a tilt screen
 
dancook said:
After getting tempted by a street photography workshop in Guildford, I took it as a motivator to just go into London and get cracking.

I found that with a network rail card and super-off peak timings I could get a return for £12.70! Which is half the price I'd been paying before..

I also bought a new music player and some earphones, which have been a great investment - it lets me feel far less self-conscious in the street and it brings up my mood, it can even shape ideas when it comes to how I see things.
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The next two images are old shots, but what occurred to me when I walked past them recently is that (other than the fleeting moments I caught) the opportunities have changed. There is a temporary building right next to the water feature this was reflected off, meaning you cannot get the same angle.

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And this water channel down the middle has been bricked in, perhaps because people tripped up?

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The last is my favourite. Really grabs me, I want to know whats going on.
 
Cockney said:
The last is my favourite. Really grabs me, I want to know whats going on.
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Yea it makes Street photography difficult as it's one of my favourites and feels hard to better it :) feel like everything else is a step backwards
 
dancook said:
Yea it makes Street photography difficult as it's one of my favourites and feels hard to better it :) feel like everything else is a step backwards
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Keep shooting Dan. Photographer I follow on youtube reckons he will take 300+ shots on a street outing and get 1 maybe 2 keepers.
 
I remember you posting that last one, Dan, and it's a really really strong image.

Well done for coping with the eye contact - I struggle to do street like that.
 
Cockney said:
Keep shooting Dan. Photographer I follow on youtube reckons he will take 300+ shots on a street outing and get 1 maybe 2 keepers.
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Can't be emphasised enough, the vast majority of what everyone shoots on the street is junk. Just been listening to Matt Stuart on a podcast and back when he was shooting film he was shooting 10 rolls on a bad day and he reckons 1% are keepers.

@dancook - Looks as though you're shooting with a 28mm or similar ? While it works for cinematic shots like 8 and close up like 3, sometimes your subjects can get lost in the frame. Either need to get closer or be careful with your composition. Also, don't be afraid of cropping.
Number 1 is a classic example - the right half of the frame is interesting, the left half not so much.

Anyhoo, like 3 & 8.
 
Ste_S said:
Can't be emphasised enough, the vast majority of what everyone shoots on the street is junk. Just been listening to Matt Stuart on a podcast and back when he was shooting film he was shooting 10 rolls on a bad day and he reckons 1% are keepers.

@dancook - Looks as though you're shooting with a 28mm or similar ? While it works for cinematic shots like 8 and close up like 3, sometimes your subjects can get lost in the frame. Either need to get closer or be careful with your composition. Also, don't be afraid of cropping.
Number 1 is a classic example - the right half of the frame is interesting, the left half not so much.

Anyhoo, like 3 & 8.
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Does #1 not give you the impression of getting caught, as you look around the image and find her eyes on are you?

If I cropped in then you lose the field of view 28mm gives and lose the chance to explore the image, but the more i look the more the balance may be off :) - I just wanted to keep the lighting fixture! Though it does not mean i do not crop when i feel the need.

Perhaps I was not successful in this, I will keep experimenting !
 
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@dancook I can see what you're trying to acheive, but there's a number of disconnects that stop the photo from working.

The leading lines of the sofa pull you in, but you reach the first distraction with the head of the leftmost woman in the frame. Following the sofa in you reach the second woman on the left and the guy on the right with their backs to each other, and they mirror each other. Crucially though, and what lets the photo down, is that the guy is looking over his shoulder to his left. If he was looking at the women opposite it would of made the photo.

So as it stands the right half of the photo is quite interesting with the woman, the tables and the yellow/red sauces. The left half is distracting.
 
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dancook said:
Does #1 not give you the impression of getting caught, as you look around the image and find her eyes on are you?

If I cropped in then you lose the field of view 28mm gives and lose the chance to explore the image, but the more i look the more the balance may be off :) - I just wanted to keep the lighting fixture! Though it does not mean i do not crop when i feel the need.

Perhaps I was not successful in this, I will keep experimenting !
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I would crop the left hand side just taking out the white haired person on the other side of the bench and all left of them. That leaves the light, the tables become the lead in and brings you straight to the womans eyes.
 
I disagree. I think the left/right balance is perfect. If you want to crop take a bit off the top.
 
Looking again, I wonder if he's her husband? :)
 
I really like the colours that you have captured in #5. It makes the city look a good place to be - lively, vibrant, young people ambling along. And then the juxtaposition between the bright red, shiny, well lit bus and the abandoned red (also) telephone box.

#1 is a fine photo. For me, you have got the framing just right. It is intriguing to look round the shop and wonder what each person is thinking. Who are the people on the left talking to, why is no one smiling, why are the couple not connecting. She is looking at you, he is looking at the clock. She is well lit and so stands out, the others less so. The back of the bench seat also cuts them off from the others. What a pity that the light fitting just gets in the way of the clock face, but nothing you could do about that from the postiion that you were in.
(y)
 
Ste_S said:
@dancook I can see what you're trying to acheive, but there's a number of disconnects that stop the photo from working.

The leading lines of the sofa pull you in, but you reach the first distraction with the head of the leftmost woman in the frame. Following the sofa in you reach the second woman on the left and the guy on the right with their backs to each other, and they mirror each other. Crucially though, and what lets the photo down, is that the guy is looking over his shoulder to his left. If he was looking at the women opposite it would of made the photo.

So as it stands the right half of the photo is quite interesting with the woman, the tables and the yellow/red sauces. The left half is distracting.
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:agree:
now thats someone who knows what he's talking about you should take onboard what he says about composition
every day is a school day as they say
pointless having all the gear if you don't have any idea
 
holty said:
:agree:
now thats someone who knows what he's talking about you should take onboard what he says about composition
every day is a school day as they say
pointless having all the gear if you don't have any idea
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I'm willing to learn from most people, just not you.

Your opinion and attitude is worthless to me, which is putting it lightly because I'd rather not get banned for the forum.
 
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