The Lessons of Shooting Street Photography in a Small City. "Take it inside... " - Keith Chastain. Berkeley Eric: For this guest post I am pleased to feature Keith Chastain, an incredibly passionate street photographer who currently lives in a small city. Many of you in the past have asked me advice about shooting street photography in a small city and franking speaking– I wasn’t quite sure what to say. However Keith is able to balance his life in the small city, while scratching his itch for street photography while hitting up big cities like San Francisco. Read more to see his images and read his insight about the subject. Keith: I’m thinking of an unoriginal analogy for street photography…Bear with me here…Street photography is a lot like fishing right?
We have our favorite spots that usually guarantee us a few bites. I love watching people. I live in a “small city” by everyday terms. Since we’re speaking of people let’s look at the math of one city I often travel to in order to shoot street and another city I hope to visit someday. Andrew Kochanowski: What Was He Thinking? "The place where this was shot is the Volcano National Park on the Big Island in Hawaii, so that should substantially reduce the mystery of the fog. The big crater in the park is surrounded by hot vents which make for an eerie atmosphere when they feel like it, and they felt like it combined with an overcast sky that day they felt like it.
I look for places like that when I go out shooting, as I suppose most street photographers do, and when I find one I tend to hang about for a while to see what happens. Here a family stopped by to look at the the vents, or maybe the rim of the crater behind me. The little girl was enraptured by the hissing or the sulphur smell and didn't realize that Mom was leaving town… all I had to do was stand there and snap. This was one of those photos that I felt would be interesting right away because the little girl's arm was swinging up like she was scared or anxious.
She wasn't. "This is a traditional light play snapshot. The Unrepentant Flâneur’s Guide to Street Photography Part 2 « Modes of Flight Blog. “The Way to the Light”; an exmaple of urban photography. Urban Photography and Street Photography; what’s the Difference and What to Shoot For? Is there a difference between urban and street photography? I, probably like most, use the terms interchangeably but even I can appreciate the opinions of those who insist on drawing a line between the two genres; even though it is a fine line.
The simplest way to define urban photography (UP) as a distinguished photographic genre is to say that it is largely landscape photography; equally featuring great and hardly celebrated man-made structures, in an urban (sometimes suburban and rural) setting that usually only indicates the presence of human beings, and only rarely shows the actual presence of them. These structures could be skyscrapers, bungalows, streetlights, park benches, bridges, sidewalks and more, and they could be in tip-top or abysmal condition. They could be operational or uninhabited. “As for gaining access, let me first say. Luminous landscape. After Bill Atkinson and I did our workshop at The Luminous Landscape Gallery this past October, Michael Reichmann was very intrigued with one of my methods for making selections.
In many cases, this technique can make daunting selections incredibly easy! (In some cases, it will not work at all!) I developed this technique about three years ago, and although it’s not rocket science, I have not yet seen it described elsewhere. I’m calling it “tonal selections,” since it’s based on a curve’s ability to discriminate between lighter and darker tones. Without this locked-down point, the lightened image many times feels washed-out. Here is a image that illustrates this technique in its simplest form. This is a fairly high resolution jpeg-so that you can download it, and try this technique yourself. To lighten just the river, I need to create a mask to “select” the river. To select the river—and a little foreground—I recommend the lasso tool. Let me review the theory here... Example Two. Masterclass Live. Style="display:inline-block" data-ad-client="ca-pub-4447489407993683" data-ad-slot="6012619961"> Developing Your Style As a Photographer I am really excited to announce a new concept for the podcast – Masterclasses Live.
I’ve been strongly committed to doing the video podcast over the last few years. I think the biggest surprise for me has been the interaction that I’ve had with the photographers who watch the show, ask questions and have been a part of the whole experience. I sometimes get frustrated by some of the limitations – a podcast is what it is – its a one way conversation with a time limit. This is not a bad thing – in fact we’ve developed quite an archive of shows that people can go back through and watch at their own convenience and learning speed. But it lacks 2 things: 1) a deeper exploration of the subject at hand and 2) viewer involvement and a way to ask questions. I will continue to do the podcast – no need to stop a good thing. Magnum In Motion. Photography. Photo Essays in Black and White. Springfield Through the Mill Springfield, Oregon See See Havana A Cuban Odyssee Churches ad hoc Offbeat look at churches in America Mall-Aise A View of Shopping Malls Hamlets of Lane County Rural Communities in Oregon FotoFestival Naarden Visit to a Photo Festival in Holland Hobby Field A place for high-minded hobbyists Junction City Junction Along West 11th Avenue A Cross Section of Eugene, Oregon Around the Riverbank Bike Path With a 'Bent and a Box (Camera) The Riverbank Trail Seen Thru a Pinhole Selections from other Photo Essays by Herman Krieger Live Wires Sumptin' Sumpter A Day in the Life of a Mobile Veterinarian Blue River Anthology Prison Scene Hirer Education Murals of Lane County The Big Country Oregon Art Beat in Action.
LightBox Photographic Gallery & Fine Printing | Astoria, Oregon. MOO | Custom Business Cards, MiniCards, Postcards and more... Not a "tit" blog. Tumblr. Has A Portfolio. Zone system. The zone system Ansel Adams was a very great photographer. He was also a lecturer in photography, and in order to help his students understand basic sensitometry, he devised the Zone System in the mid-to-late 1940s. The Zone System is based on sensitometric research carried out by many before him, especially Hurter and Driffield (1890) and Jones and Condit (1940-41). There are two other free modules you may find useful on sensitometry: the one on density and the characteristic curve and the one on ISO film speeds. The basis of the Zone System is the division of the various tones of the photograph into Zones, as given below. This is a work of unalloyed genius as it creates a quick, easy frame of reference that anyone can understand after familiarizing themselves with the Zones.
I The darkest black of which the paper is capable. II The darkest black distinguishable from Zone I III The darkest tone with texture and detail IV Dark mid tones V The mid-tone, defined as an 18 per cent grey. The Zone System Explained. N-Development obviously works best with sheet film as each sheet can be processed separately. If you are using roll or 35mm film you can use the above method but it is possible to expose as instructed above but develop the film normally. Contrast control can then be adjusted when the print is made. Many photographers test each camera lens they use, due to resultant light loss due to transmission factors.
One would have to test each lens used, including any enlarger lenses. Film is often bought in bulk. To test your film a 'Kodak' 18% Grey Card is required. How orbital. Processing sheet film in a paterson orbital Processing sheet film is a perennial problem, especially for the beginner. The Paterson Orbital tank, designed for processing colour prints, is extremely useful for formats up to 8x10 inches. It can take one 8x10 inch or 18x24cm or whole plate; or two 5 x 7 inch/13 x 18 cm/half plate; or four 4x5 inch/9x12cm (or presumably quarter-plate, though we have not tried it). As the illustrations show, it is essentially a processing tray with a curved bottom and a light-trapped lid. It can be loaded in the darkroom or in a changing bag, after which processing can be carried out in normal room lighting. It is normally used with the domed support base, which is available in two versions, manual and powered, but it can be used without either, simply as a covered, light-tight tray.
Better still, the volumes of chemicals needed are absurdly small, as noted below. roughening the inside of the tray processing sequence chemical volumes temperature control agitation. Stolen Moments: Matt Stuart on His Fascination with Street Photography. Here’s an interesting video in which street photographer Matt Stuart shares some of his work and talks about his love for street photography.
In an interview with More Intelligent Life, Stuart states, I’d like to be a mirror. And show people who live where I live what they’re like or what we’re doing or how we act. How we live. One interesting statement he makes in the video: “the lovely thing about street photography is [...] that the best stuff there’s absolutely no way you can stage, or even think of.
(via ISO 1200) PHOTO HISTORIES > David Hurn. 'While with an eye made quiet by the power of harmony … we see into the life of things:' David Hurn in Wales, June 2010. Photos & text © Graham Harrison He is the Magnum photographer whose flat in London was a creative haven for photographers during the 1960s, and whose documentary photography course at Newport in succeeding decades became the most successful course in photographic education in Britain. As a new book of his photographs is published, David Hurn talks to Graham Harrison about photography, photographers and of a life enriched by friendship. In May 2009 David Hurn was the victim of a hit-and-run. Nine months later the bruises have gone and one of Britain’s most distinguished photographers is resigned to the fact that at the age of 74 his Achilles may never heal completely. The account is typical Hurn: facts that conclude with a considered, sometimes critical observation.
In 2001 David was diagnosed with cancer of the colon. ... continued on the next page(pageAll ) | Kievaholic Klub - The place for Kiev lovers everywhere | Ag Photographic. The Specialists for all traditional photo products. UNLESS YOU WILL. Workflow Technique #063. I strongly recommend that you learn to properly profile your monitor and to use profiles for your printer and papers. Profiles will make the process much easier to get good prints; the monitor can be a very good representation of your printer output if you learn to use color management well. But the monitor is not a perfect proofing tool for your final print; it provides the first step for creating a good print, but once you have decent prints, how can you create the final exceptional print.
I use test strips to allow me to easily evaluate the effect of minor adjustments to my prints; these allow me to quickly fine tune my prints to that one exceptional print. Steps for Making Printer Test Strips 1) First make the image look as good as possible on your computer monitor; then make the best print possible using your print process onto the specific printer and paper that you intend to use for your final prints. For my example image, I will be adding red to the overall image.
Starting Image. Street photography in small towns? I live in a town of 1500 and have very few problems shooting in it. Of course much of my work here is different from when I lived in NYC and the approach is completely different and the outcome is also different. However, you just need to work differently. I'd rather small town over suburbs any day -that's gotta be the most difficult area to photograph. Just imerse yourself and the photos will come. You can't take the same approach with big cities as with small towns -it just doesn't work.
But like all documentary photography, the best photographs come when you have a relationship with your subject and you're genuine about it. That being said, coming from NYC with a population of 19 million and moving on a farm in Cannington, Ontario with a population of 1500, I have ample opportunity to photograph -it's just different and sometimes harder to find, but it's there.