Shooting with Fuji 18mm hyperfocal in Milan

Benjo255

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1.
IPERFOCALE28_01_2016-4.jpg


2.
IPERFOCALE28_01_2016-5.jpg


3.
IPERFOCALE28_01_2016-6.jpg


4.
IPERFOCALE28_01_2016-7.jpg


5.
IPERFOCALE28_01_2016-8.jpg


6.
IPERFOCALE28_01_2016-10.jpg


7.
IPERFOCALE28_01_2016-13.jpg


8.
IPERFOCALE28_01_2016-16.jpg


9.
IPERFOCALE28_01_2016-17.jpg


10.
IPERFOCALE28_01_2016-22.jpg
 

The_Traveler

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This is pretty good

upload_2016-2-13_11-24-15.png


IMO, as for the rest, just having things in focus and converted to a contrasty BW does not automatically make a good street photo.
 
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Benjo255

Benjo255

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I thought about the crop you did, but I want the photographer in the lower-right corner to be in the frame.
IMO, as for the rest, just having things in focus and converted to a contrasty BW does not automatically make a good street photo.
I definitely agree with you. I'm quite satisfied with these shots, especially the ones with a eye-contact with the subject. I love n. 5, 6 and 8.
 

kdthomas

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I'm digging 1,5,6,8, and 9 ... I think the best street tells a story, or at least causes the viewer to think about what might be the story.

Might be a few too many for a single post ...

Whenever my own street stuff hasn't worked has almost always been where *I* remember the story but the image doesn't express it.
 

limr

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I thought about the crop you did, but I want the photographer in the lower-right corner to be in the frame.
IMO, as for the rest, just having things in focus and converted to a contrasty BW does not automatically make a good street photo.
I definitely agree with you. I'm quite satisfied with these shots, especially the ones with a eye-contact with the subject. I love n. 5, 6 and 8.

Although I prefer #7 (not #6). My favorites (in order) are 10,8,7.
 

limr

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Although I prefer #7 (not #6)
Why? What likes you more in 7?

Like you said, the ones with eye contact are better. There is no eye contact in 6. There aren't even eyes in 6. The only person in 6 has his back to the camera. There's no story. The man in 7 is making eye contact and looks like an interesting character. It still isn't as strong as 8, though, which has clear eye contact, an interesting character (that hat and coat make it better than if she'd been wearing jeans and a sweater, for example) caught in the middle of something, another man slightly behind her looking as if he's about to approach her...there's more of a story there than "hey, some dude is taking a picture of me while I'm walking down the street."
 

Braineack

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with the exception of the last two, these just look like google street view images.

why so harsh with the processing? cant see any detail whatsoever.
 

xenskhe

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Benjo, I think 4 and 9 the most interesting pictures.10 and 6 I like also.

Regards.
 
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Benjo255

Benjo255

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why so harsh with the processing? cant see any detail whatsoever.
I'jm experimenting with a lightroom preset that simulates A 400 ISO film pushed to 1600 ISO. What I was looking for (and what I love in this period) is exactly the minimum amount of details.

It's interesting how some pictures don't tell anything to some of you and are liked by someone else.
N. 8 is definitely my favourite one, but may be I have bias or emotive attachment to it because of the moment. She was taking picture to the man walking. I was behind her, pretending to take picture of her (actually I took some photos of her from behind). Then the man said something to her (like "Hey, that guy is taking picture of you!"). She turn back while he was approaching, she looked at me and...click!
 

xenskhe

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I rate 4 and 9 best because they make good use of the situation and different elements. Pictures of people with slightly puzzled looks are the everyday results of a lot of candid urban shots. A picture like 6 isn't invalidated because the man has his back to the camera. Actually it allows him any number of imagined identities rather than one. Some street photography seeks a connection with the individual on an emotional level, others are placing people within a stage as actors. This is what makes 4 good. The advert models are an aloof ideal or fantasy, the guys on the street are a reality and their identities dont matter - this reinforces the contrast.
 
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Benjo255

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Thank you xenskhe! You explain my photographs better than me! :02.47-tranquillity:
 

xenskhe

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I enjoy the idea of certain street pictures as cinematic stills, paused in time. Maybe it's growing up with films made in the 60s and 70s where this device was used to create a poignant moment in a film. Freeze frame, with narrative. Also this way of thinking I'm comfortable with b&w street photos if the architecture and the clothing, the presence of the people suits the monochrome image (picture 4 works well in this way).
 

jcdeboever

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why so harsh with the processing? cant see any detail whatsoever.
I'jm experimenting with a lightroom preset that simulates A 400 ISO film pushed to 1600 ISO. What I was looking for (and what I love in this period) is exactly the minimum amount of details.

It's interesting how some pictures don't tell anything to some of you and are liked by someone else.
N. 8 is definitely my favourite one, but may be I have bias or emotive attachment to it because of the moment. She was taking picture to the man walking. I was behind her, pretending to take picture of her (actually I took some photos of her from behind). Then the man said something to her (like "Hey, that guy is taking picture of you!"). She turn back while he was approaching, she looked at me and...click!
Use a film camera

Sent from my XT1254 using Tapatalk
 

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