Stadtmenschen III

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8 thoughts on “Stadtmenschen III

  1. That 3rd photo is amazing! Your comments to Composer in the Garden abouve are very interesting – you do obviously think carefully about what’s in the frame. Also about expression, it seems – I mean expressions on people’s faces and in their body language.

    • You are right Bluebrightly. For me framing is most challenging in this kind of photography. It doesn’t turn out well always. But you can do some training everyday by watching your surroundings carefully. I call it picture-taking without a camera😉

  2. Stadtmenschen und ihre Habseligkeiten. Die Dame ist klasse, etwas schrill, ich hoffe das ĂŒbertrĂ€gt sich nicht auf den Hund. Das vorletzte gefĂ€llt mir am besten, dieser Blick des Herrn aus dem Bildwinkel hinaus, gut getroffen. Ich werde das GefĂŒhl nicht los, hier geht’s auch wieder ein bischen um HĂ€nde bzw. um’s tragen, beschĂŒtzen oder besitzen.
    LG kiki

    • Ja, die HĂ€nde. Ich achte da tatsĂ€chlich sehr drauf. Denn die HĂ€nde sind oft das lebendigste in einer Szene, die ich beobachte. Die Bewegung der HĂ€nde entscheidet ĂŒber die QualitĂ€t des Moments, den ich festzuhalten versuche. Sonst wĂŒrde ich nur Bilder von vorbeigehenden Menschen machen. Wenn man aber darauf achtet, was sie mit ihren HĂ€nden machen, dann hat das Bild doch gleich Situationscharakter. Und genau zu solchen Bildern möchte ich hin. Es ist kein allein selig machendes Mittel, aber eine gute BrĂŒcke zum guten Foto – glaube ich …. Gruß – KUM

  3. Lynn from BlueBrightly guided me to your site. I love your work! These photos remind me of Cartier-Bresson’s “decisive moment” approach to street photography – is that something that you consider when shooting? The black and white shots have such beautiful definition and tonal range – I especially like the last one, with the multiple reflections of mirror and glass.

    • Thanks a lot for stopping by! I’m glad you like my blog. What I try to do is, to frame a situation and find the right view, to take proper pictures. Yes, a good picture depends very much on the captured moment. But I’m far away of claiming Cartier-Bressons approach for myself. He tried to master time. He was hunting fractions of a second. Capturing moments because they are not coming back. This was his way of explaining the difference between painting and photography. But to be at the right place in the right time to get the best picture is also deeply connected with journalism. The decisive moment is all about content. This is why Cartier-Bresson became so famous though he wasn’t a journalistic hunter only. He mastered the situation by walking up and down grabbing one or two pictures. Sometimes one frame was enough, sometimes you need five or six for covering a moment. I’m far away of Cartier-Bressons skills. I’m not a pro. I don’t need to be a master like he was. Just one thought. Photography is not about wrestling down the flow of time by capturing the one and only moment. That’s hopeless. HCBs work is important to me, because it taught me a lot about scanning the surroundings, finding subjects, observing the light situation, searching for patterns, structures and lines, waiting for something to happen in ordinary situations and most important of all, HBCs work tells a lot about framing as a problem. It should be called the decisive framing: What’s in the picture and what’s left apart. Regards – KUM

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