Street Photography | Landschaftsbilder | Momentaufnahmen
your sense of composition is outstanding
Wow! Thanks a lot. Your comment counts.
an excellent series. it was very observant to get these.
Thanks Victor. It’s just another way of making use of time. Observing people is fun. Greetings – KUM
Great streetshots. I like them
Thank you. I’m glad you found your way leaving a comment here at 125tel. Greetings – KUM
Die Hand verrät so vieles… 😉 Der Herr im letzten Foto hört harten Krach, die Fingerstellung seiner linken Hand zeigt es 😉
Sie unterstützt Suchtgebaren, hilft die Gedanken zu ordnen, sie zeigt zu wem man gehört, kurzum wenn etwas an allen Menschen gleich ist, dann die Sprache der Hände.
Und im ersten Bild schafft die Hand Platz. Sie dient gewissermaßen als soziale Schaufel, um den Nebenmenschen aus dem Weg zu schieben 😉 Gruß – KUM
All six images show a deft “hand” when it comes to controlling contrast. Winogrand’s treatments never looked this good.
But he achieved his results with chemicals … And that’s much more artistic than just pushing and pulling some controller in PSE, I guess. But anyway. Thanks a lot for your encouraging words!
True, but I don’t think he was that much into the printing aspect of his work. The street photographers, for the most part, were following Evans’ cue. Evans seemed to be pretty open about his contempt for printing.
That seems to be a rare relationship they had to printing. Why? Was it a dead concept in their eyes? Regarding Winogrand, he was more interested in the flow of taking picture, right? The straight way of taking pictures. I often struggle with his way of finding frames. They are kind of sloppy. But he began a new vision. And that’s the best you can say about an artist.
I believe you’re right about Winogrand: he was into the flow of taking pictures– and then making contact sheets.
To me, the final prints of the street photographers often look like nothing more than simple enlargements of the images on their contact sheets. Maybe that was the point. The “footprint” of darkroom work was explicitly avoided. Perhaps this was a conceptual decision more than an artistic one, because in many instances, a “better” version of the image was not attempted.
I like what you’re doing. During the last year, your images look they’ve been handled with care. I’m enjoying that deep tonal detail and to me it’s a new way to look at the “street”. Your careful treatments are a delight to study and they make your subjects and groupings even more meaningful.
Street Photography has this straight character. I do come from taking landscape and nature pictures, developing films and doing enlargements in a real darkroom. It was never professional or very artistic. Just a joy to make it. May be the combination of the straight Street Photography I do now and the darkroom trained eye leading me into my treatment of digital files. I never though about it. But your remarks are interesting and very encouraging. It’s also kind of an obligation to keep standards … I take it as a challenge 😉 Greetings – KUM
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