Some great dialogue in this one Eric and Karl! Thanks for sharing! Some points that stuck out was when you mentioned that Costa Manos was picky about the edges of the frame @23:51. In my blog I call it "Edge Flicker". You protect the integrity of the edge to reduce distractions from your main subject. The Master painters were excellent at this and it was one of the many technique they were in full control of. Sometimes they would add a high contrasting element like a person on the edge, but the person would be pointing an arm inward which would help redirect the viewers eyes back into the composition. So if there is high contrast near the edge it should help redirect the viewers eyes back into the photo/painting. Another thing that stood out was Costa Manos using the Rule of Thirds @30:20. This was surprising because the rule of thirds is a tool for beginners…something for them to get their subject out of the middle of the frame. The middle of the frame isn't that awful though if you can design the background and other elements to compliment the subject. Bresson was trained by Andre Lhote and used Dynamic Symmetry…a basic armature which included diagonals. The rule of thirds was not part of his vocabulary. I'm glad that Karl said rules are made to be broken because the rule of thirds is a trap that most artists fall victim to. I'll quit rambling now, but thanks for all of the videos on this Magnum workshop. It's great to hear what they are saying about street photography and art in general.
One of the few interviews I can get through. Eric, keep in mind how close you are to the microphone. Annoying when you loud talk, or speak over Karl. Too much good info for me not to get through the whole thing though.
Karl, I know x100s don't show zone focus marking but it still works. Because when I shoot street photography, I often set the lens to f/8 and 7 foot or 1.2~ meter and just shoot. Using zone focusing. But Leica with leica lens ^^
Have you ever been to Provincetown? Granted this is on the far part of the West End of Commercial Street and no one wakes up and gets out until after the time this was shot, so if you're going by what you see in this little video, I get it, but Ptown is anything but a "white-bread suburb." It's the oldest artist community in the US and rather absurdly diverse, especially in the summer. Anyway, had to say something. It's not only one of my favorite places in the world (and this is even having lived 20 miles away for most of my life,) but working and teaching up there has been a gift. It's kind of a special place and a hotbed of constant artistic movement and inspiration (and shooting street up there on any given day/night during the summer is a chaotic blast.)
21:55 That perfectly explains why I don't like and can't appreciate the Humans of New York photographer. In an attempt to make the photo bigger, better, and more meaningful a conversation is included with the photograph. That is not good street photography. *MY Opinion*
Some great dialogue in this one Eric and Karl! Thanks for sharing! Some points that stuck out was when you mentioned that Costa Manos was picky about the edges of the frame @23:51. In my blog I call it "Edge Flicker". You protect the integrity of the edge to reduce distractions from your main subject. The Master painters were excellent at this and it was one of the many technique they were in full control of. Sometimes they would add a high contrasting element like a person on the edge, but the person would be pointing an arm inward which would help redirect the viewers eyes back into the composition. So if there is high contrast near the edge it should help redirect the viewers eyes back into the photo/painting.
Another thing that stood out was Costa Manos using the Rule of Thirds @30:20. This was surprising because the rule of thirds is a tool for beginners…something for them to get their subject out of the middle of the frame. The middle of the frame isn't that awful though if you can design the background and other elements to compliment the subject. Bresson was trained by Andre Lhote and used Dynamic Symmetry…a basic armature which included diagonals. The rule of thirds was not part of his vocabulary. I'm glad that Karl said rules are made to be broken because the rule of thirds is a trap that most artists fall victim to.
I'll quit rambling now, but thanks for all of the videos on this Magnum workshop. It's great to hear what they are saying about street photography and art in general.
One of the few interviews I can get through. Eric, keep in mind how close you are to the microphone. Annoying when you loud talk, or speak over Karl. Too much good info for me not to get through the whole thing though.
This is great!
That neighborhood is unreal. Looks like place you would see in a movie or something. I need to travel more smh.
Great interview, Cheers Eric Kim Photography
Karl, I know x100s don't show zone focus marking but it still works. Because when I shoot street photography, I often set the lens to f/8 and 7 foot or 1.2~ meter and just shoot. Using zone focusing. But Leica with leica lens ^^
Is this in Key-West?
Ho Fan cropped heavily and he wipes floor with most photographers.
So what are the four exposures you really only need to know?
a 6k camera that doesn't produce stellar image quality at ISOs over 640 in 2014 is essentially comical.
Danny B. and serious chromatic aberration
This white-bread suburb is hardly fertile ground for "street photography."
Have you ever been to Provincetown? Granted this is on the far part of the West End of Commercial Street and no one wakes up and gets out until after the time this was shot, so if you're going by what you see in this little video, I get it, but Ptown is anything but a "white-bread suburb." It's the oldest artist community in the US and rather absurdly diverse, especially in the summer. Anyway, had to say something. It's not only one of my favorite places in the world (and this is even having lived 20 miles away for most of my life,) but working and teaching up there has been a gift. It's kind of a special place and a hotbed of constant artistic movement and inspiration (and shooting street up there on any given day/night during the summer is a chaotic blast.)
28 mm and 35 mm are more preferable than 50 mm for street photography in my opinion.
21:55 That perfectly explains why I don't like and can't appreciate the Humans of New York photographer. In an attempt to make the photo bigger, better, and more meaningful a conversation is included with the photograph. That is not good street photography. *MY Opinion*
Lolz. Let's stand around slagging off Cartier Bresson, whilst both toting Leicas precisely because Bresson used one. D'oh!