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[LLT]

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Cheers guys for your feedback.

@jplomley, yes 35mm on the m9. I go right up close, that's why, not so much the lens that I use.

[daveleo]

outstanding series, really excellent.

 

i would also think to dial back a click on the processing . . . sometimes it shows through too much and (for me) distracts me from the image.

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[LLT]

Cheers Dave,

Hmm I must have overdone the PP on this batch, which i can't quite see on the laptop I'm currently using. The PP for these pictures were done on a different computer (uncalibrated). Cheers for the feedback.

[india]

Most of the photos you are too close. Give them more space, show some more place. That way I can connect more, my eyes will wonder to get there. The way it is it's right at my face. Not much to explore on the way to the main motif.

Some good moments you got here but more space would have improved much compositions and overall interest.

 

Best

Gabi

 

I agree with Gabi,

I have been watching your photos for some time trying to understand the story.

I have the feeling that you photograph lots of scenes that may have emotional moved you,which may have made you not think about composition and some angles show that you have taken the photo fast with out much thought.

You have explained in another series, of some boys that you wanted to photograph, but there was not much happening, then one of the boys wants to go, so he puts the Knife over his shoulder and then, you have your photo. A very good photo IMHO

I am sure with time you will achieve great photos which will unfold a story !

 

meanwhile take a look at

 

Antoine Agoudjian photographe

 

antoine.agoudjian

 

I know he is one of the more important photographers in our time today.

Have a look at his work, note the way he composes his photos.

Look at the way he tells the story off other people and does not take credit for the photo !

I believe he will inspire you to improve your photos as well as to motivate.

 

warm regards

 

david

[roguewave]

Liz, I like that you're up close & that there's a need to search around in the frame. This isn't landscape photography, where everything is balanced & pretty, In fact I think this somewhat jarring view is very effective without being forced. I like that they are not "classical" in framing & focus. I do think a little wider lens might open up some more possibillities, if the right lens allows you a closer focusing range.

 

For me it's the immediacy of your images. I'm glad to read in the comments that people don't feel comfortable with the frames. That's what helps to propel the content, for me. One just can't stop looking around inside the frame to try & "work it out". That's what keeps me hooked. Play on, maestro.

[schmolinski]

Liz - it's a superb series! I really love your way of photography, seeing the scenes and people in their environment. You have the right gaze!

[topoxforddoc]

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Liz,

 

No 4 is my favourite. Looks like it could have been shot on film 40 years ago!

[LLT]

Hey David,

Thanks for your feedback. I may have to disagree with you on a few things here.

I have the feeling that you photograph lots of scenes that may have emotional moved you,which may have made you not think about composition and some angles show that you have taken the photo fast with out much thought.

 

You are absolutely right that I take choose to take pictures I take because I am emotional moved. There is no doubt, otherwise I reserve the want to take them at all. However your view that I haven't put in much thought before I shoot is where I have to disagree with you. That is one thing that does not escape my thought process and I can say I'm not a "typical" digital photographer who is trigger happy. At most I have 2 shots of the same situation, otherwise 1. Habit from when I was using analogue cameras. Composition is key, and I guess composition the way I see it in these pictures was the way I wanted to photograph, but that do not agree with you, which is fine. AT the time, there were elements in these situations that I did not want to include in the frame which would have impacted how the photograph would work, hence the way I have chosen to compose. There is always a reason because it is always on my mind.

Thanks for your referral to antoine agoudjian. Appreciate it. It's always good to study good photographs of others'. I think it is also very important (perhaps more so) to form our own vision and style, otherwise reportage/social documentary/street (whatever we wish to call it) will look very monotonous don't you think?

 

Cheers again David for taking the time to comment. I do appreciate it.

 

Liz

Edited July 9, 2010 by LLT

[LLT]

Liz, I like that you're up close & that there's a need to search around in the frame. This isn't landscape photography, where everything is balanced & pretty, In fact I think this somewhat jarring view is very effective without being forced. I like that they are not "classical" in framing & focus. I do think a little wider lens might open up some more possibillities, if the right lens allows you a closer focusing range.

 

For me it's the immediacy of your images. I'm glad to read in the comments that people don't feel comfortable with the frames. That's what helps to propel the content, for me. One just can't stop looking around inside the frame to try & "work it out". That's what keeps me hooked. Play on, maestro.

 

Ben, cheers

Actually I think someone else in the forum tried to tell me the same thing about a wider lens and I think I may have misunderstood the intent . Now that you've structured it the way you have, I get it! That' a thought Ben! If I have a tendency to go close, perhaps a 28mm might work, or I just have to step back a little in certain shots y'know regardless, I think my legs will try and do what my eyes and brain tell it to.... I'm either super detached or super close. Let me have a play.

gracias maestro.

[LLT]

Dario & Charlie, thank you for both you comments also!

 

Charlie, I'm glad you like #4 (the one with the pig being weighed). It's one that I'm personally unsure about. There were a few of us at the same situation, we'd all waited for some time. Eventually photographs started to pop up in the frame trying to get the best angle! Where the little boy is peering through the window on the boat... there was also a little girl who was completely fascinated! I was trying so hard and waiting forever to get her in the frame, but that didn't happen... either she wasn't there or one of the guys weighing the pig was blocking her from view. Ah one of those situations!

 

@ Gabi/David, #4 is an instance where stepping back just a tat more would have introduced a whole bunch of different elements into the frame, eg photographers, other people and pigs on the boat which I didn't personally think would add to the story telling, in fact it would have given the entire story away. I thought this gave the image a bit of mystery, raises some questions.....

Edited July 9, 2010 by LLT

[thompsonkirk]

Another series that blows me away. One of your special talents is letting people pop up where they will in the frame, with part-people in-&-out of the edges. This gives many of your photos the apparent casualness of 'glances,' but this is skill not happenstance. None of that stuff where one subject is right behind the rangefinder patch; instead, something more like a William Klein point of view.

 

First sequence is a bit less contrasty than Anatolia; 2d sequence even more. Consider backing off? And sometimes the vignetting looks too artificial to match the realism of the images. I mention these things in hopes that you'll make a beautiful set of prints for exhibition when you're back on your home ground.

 

A pleasure to see, & I learn a lot from seeing your work.

 

Kirk

 

PS, when I wrote the above I'd skipped over one page of comments. I agree with Ben: "Liz, I like that you're up close & that there's a need to search around in the frame." The fact that this is unnerving to some viewers shouldn't put you off it. It's not what they're used to, but IMO it's a plus not a minus. The lack of a complete orienting context is part of the pleasure & surprise. (Pig picture is a great example of this!)

 

Nothing wrong with trying a 28 for a while, but this is fine work with 35.

Edited July 9, 2010 by thompsonkirk
PS

[LLT]

Another series that blows me away. One of your special talents is letting people pop up where they will in the frame, with part-people in-&-out of the edges. This gives many of your photos the apparent casualness of 'glances,' but this is skill not happenstance. None of that stuff where one subject is right behind the rangefinder patch; instead, something more like a William Klein point of view.

 

First sequence is a bit less contrasty than Anatolia; 2d sequence even more. Consider backing off? And sometimes the vignetting looks too artificial to match the realism of the images. I mention these things in hopes that you'll make a beautiful set of prints for exhibition when you're back on your home ground.

 

A pleasure to see, & I learn a lot from seeing your work.

 

Kirk

 

PS, when I wrote the above I'd skipped over one page of comments. I agree with Ben: "Liz, I like that you're up close & that there's a need to search around in the frame." The fact that this is unnerving to some viewers shouldn't put you off it. It's not what they're used to, but IMO it's a plus not a minus. The lack of a complete orienting context is part of the pleasure & surprise. (Pig picture is a great example of this!)

 

Nothing wrong with trying a 28 for a while, but this is fine work with 35.

 

Thank you heaps Kirk for your constructive feedback! Yes agree the 2nd lot are way too high in contrast..using 2 different computers and forgetting to calibrate! Me bad.

 

I guess what I try to focus on is to capture a part of the soul of a place, person or situation. Even if just a tiny bit where they would bare their souls and forget that I exist. A lot of the time, I would hold the camera to my eye for a while and put it back down again without taking a single shot, because I'm not able to capture the situation or person for what it really was, even if just a small degree.

 

I'm glad you are enjoying the series and thank you again for your critique/comments

[india]

Thanks for your feedback. I may have to disagree with you on a few things here.

 

I can say I'm not a "typical" digital photographer who is trigger happy. At most I have 2 shots of the same situation, otherwise 1. Habit from when I was using analogue cameras

 

.

 

Hi Liz

 

I am sure you here about a photographer, Sebastiao Salgado,

 

As you can see from Salgado, He takes more then one or two frames as he starts to work, he is always looking for the composition in the frame and he does not bother him if he has to take 50 frames to get his photo. I believe he still shoots film.I will give you a link to you watch,

 

In the words of Sebastiao Salgado

 

"it's important to respect the basic principal, composition, lighting, to produce a balance picture"

 

 

Please look, you will understand a lot better; then what I can say.

 

 

 

 

 

Thanks for your referral to antoine agoudjian. Appreciate it. It's always good to study good photographs of others'. I think it is also very important (perhaps more so) to form our own vision and style, otherwise reportage/social documentary/street (whatever we wish to call it) will look very monotonous don't you think?

 

 

 

 

 

Yes I agree, but also a good revision from time to time, this will remind us who we are and where we come from as well as where we are going, a certain purpose!

 

I hope that you profit from the video Liz, Sebastiao Salgado is yet another important photographer in our time. A man who has a lot to say in words and in his pictures.

 

As this is an open forum it is good to talk and share ideas, there are some good photographers on this forum with a lot of knowledge that can help us improve our photography,

 

warm regards

 

david

[shtarka1]

Another level of Brilliance! Keep Inspiring!

[wilfredo]

I love the additional photos. You really do capture the soul the soul of the place.

[LLT]

Thanks David, Wilfredo and Steve for your encouragement, feedback and help.