sean_reid Posted August 17, 2006 Share #41 Posted August 17, 2006 Advertisement (gone after registration) I should add two things (because I was just discussing this topic with Ben). 1. I haven't read Berger on painting but Ben thinks he's very good so long as he writes about the pictures themselves, as he usually does with painting. His writing on photography, however, is not centered on pictures. 2. Ben suggests that one be skeptical of any writer on photography who centers on the camera. The picture is the thing. Cheers, Sean Link to post Share on other sites More sharing options...
Advertisement Posted August 17, 2006 Posted August 17, 2006 Hi sean_reid, Take a look here sean reid and street photography. I'm sure you'll find what you were looking for!
smokysun Posted August 17, 2006 Author Share #42 Posted August 17, 2006 hi ben, thanks for the thoughts. i know you're really busy. we can pick up the loose ends later. note that my original comment was on berger specifically commenting on four photos by kertesz. this was what i found most revealing (and not necessarily his theoretical thoughts). his analysis of these pictures is what i felt taught me something. also berger really likes photography and got into it by studying with his book partner jean mohr. also this particular book has a couple hundred photos and discussions by the photographer as well. personally, i don't think susan sontag liked photography very much. so, despite her insights, she makes you have to defend your interest all the time! i think barthes basis all his comments in camera lucida on specific photos. and what touches him are those intimations of mortality: a bandaged finger, a favorite toy, the tiny details in the pictures. my question is still: what makes a particular photo a powerful mystery? wayne Link to post Share on other sites More sharing options...
sean_reid Posted August 18, 2006 Share #43 Posted August 18, 2006 Hi Wayne, I think you meant me when you wrote "Ben". Lookign forward to discussing this further this fall when time allows. Cheers, Sean Link to post Share on other sites More sharing options...
smokysun Posted September 14, 2006 Author Share #44 Posted September 14, 2006 hi sean, while people are waiting through the day for news (and i'll go straight to your site tomorrow morning), i hope they'll have time to look again at the dvd's 'contacts: 1 and 2' (i don't have the third on conceptual photography). last night i looked at the short section by robert doisneau where he goes over his contact sheets and tells how he got some famous photos. it struck me: there's no difference, really, between staged and street photography. helmut newton has an idea (and i recommend the full-lengh 'time frames'), and works it out with a crew til he gets the moment that works. doisneau walks the streets, hunting, and when he gets the shot he wants, it's the most dramatic moment. his may look spontaneous and newton's posed, but each are looking for the same thing. plenty of photo-journalists on the first disk (hcb, for example). definitely good training in looking for the story. i hope the new leicas make the hunt a great a pleasure as it has been in the past. wayne Link to post Share on other sites More sharing options...
albertwang Posted September 14, 2006 Share #45 Posted September 14, 2006 Oly live view could be the future of street photographing! Link to post Share on other sites More sharing options...
sean_reid Posted September 24, 2006 Share #46 Posted September 24, 2006 Hi Wayne and all, I just published the first part in the series on street photography. Happy to discuss further here as time allows. Cheers, Sean Link to post Share on other sites More sharing options...
smokysun Posted September 25, 2006 Author Share #47 Posted September 25, 2006 Advertisement (gone after registration) hi sean, a very nice start! thanks for the first installment. i especially liked the reference to the street photo being a 'three-ringed circus.' it's really like capturing the drama of everyday life in a split second, often with two or more actions happening at the same time, as in your brueghel example. do you know the work of alex webb? imants recommended him. i've four of his books and he seems to me the most successful at color street work. (recently he did a workshop at the icp. wish i could have been there. it seems to have started with an examination of color's function.) and i still think you might find berger's example of the proper cross-section slice of a scene to get the right combination of elements to express a universal a useful analogy. looking forward to the next section. thanks for being persistant. wayne ps. you might mention the difference a format makes. i've tried 4/3 and 3/2 today, but they don't propell an action like 16/9. they come at you, the viewer, more than they move across the screen. and also examine the way the lcd can be used, since most of us will never have a rangefinder! Link to post Share on other sites More sharing options...
Guest stnami Posted September 25, 2006 Share #48 Posted September 25, 2006 taking photos of the Girls on the Avenue.Friday night, see the girls on the avenue. Richard Clapton Interesting Sean article, I have to agree about the term 'Street Photography' I see it as bit wayward, much maligned and used to denote a sort of superior style by some. I suppose it is more about intent than a type of photography, in other words I intend to take photos of people being there or even taking images of there with people in it etc. For some it may be a life style. Headline 'Street orphan works for Reuters..." Link to post Share on other sites More sharing options...
sean_reid Posted September 25, 2006 Share #49 Posted September 25, 2006 hi sean, a very nice start! thanks for the first installment. i especially liked the reference to the street photo being a 'three-ringed circus.' it's really like capturing the drama of everyday life in a split second, often with two or more actions happening at the same time, as in your brueghel example. do you know the work of alex webb? imants recommended him. i've four of his books and he seems to me the most successful at color street work. (recently he did a workshop at the icp. wish i could have been there. it seems to have started with an examination of color's function.) and i still think you might find berger's example of the proper cross-section slice of a scene to get the right combination of elements to express a universal a useful analogy. looking forward to the next section. thanks for being persistant. wayne ps. you might mention the difference a format makes. i've tried 4/3 and 3/2 today, but they don't propell an action like 16/9. they come at you, the viewer, more than they move across the screen. and also examine the way the lcd can be used, since most of us will never have a rangefinder! Hi Wayne, Thank you. I don't think we "capture" a three ring circus so much as we create one in the picture. Again, that comment by Winogrand: "The picture is not the thing itself. It is a new fact." I have a friend who's studied with Webb and really likes his work. I'll have to look. So what are you working on these days? Cheers, Sean Link to post Share on other sites More sharing options...
sean_reid Posted September 25, 2006 Share #50 Posted September 25, 2006 taking photos of the Girls on the Avenue.Friday night, see the girls on the avenue. Richard Clapton Interesting Sean article, I have to agree about the term 'Street Photography' I see it as bit wayward, much maligned and used to denote a sort of superior style by some. I suppose it is more about intent than a type of photography, in other words I intend to take photos of people being there or even taking images of there with people in it etc. For some it may be a life style. Headline 'Street orphan works for Reuters..." Hi Imants, Yes, I think that's sometimes true. What I am interested in, however, is this whole tradition in visual art of depicting people in public spaces (with the figure drawing being essential). I think of it as a close cousin to the figure in the landscape. In fact, as Ben (Lifson) and I were discussing yesterday, Winogrands NYC streets are really landscapes. For the past several months, I've been regularly making pictures where the figure is very small in the landscape. Sometimes they're closer, though, such as in this picture made a couple weeks ago. Cheers, Sean Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/1447-sean-reid-and-street-photography/?do=findComment&comment=57808'>More sharing options...
Guest stnami Posted September 25, 2006 Share #51 Posted September 25, 2006 That is in the realm of the realistst of tthe 19th centurry, ie Gustave Courbet, Honoré Daumier, Hilaire Germain Edgar Degas, Wilhelm Leibl, Edouard Manet.Eventually culminating into the "photojournalist" style of Goya. Also the work of Americans Homer and Whistler Link to post Share on other sites More sharing options...
smokysun Posted September 25, 2006 Author Share #52 Posted September 25, 2006 hi sean, ah, a street photo at a carnival (now there's a circus). that's one of my favorite things to do. the county fair always has an interesting juxtaposition of images and actions and forms. i've a show coming up in march-april with a fairly large and dramatic room to fill, so i'm wondering what to put in it. the fair photos/collages seem to be the strongest contender. interesting what sells. the artist in the gallery at present selling some pricey paintings of musicians, something many people like. treatment we think about. the public thinks about subject. here's a link to a great series at the tate modern. makes me wish i were living in london: TATE MODERN Global Photography Actuphoto.com Photographie your picture shows something which i've seen in a number of yours: anxiety in public places. your travelers often seem more distressed than having fun! what do you think? seems to me we all create a fiction, as winograd implies. hi imants, yes, i agree with you about the history. photographs with clarity. oddly, i'm most moved by blurry pictures done well. sarah moon, for example. she creates a mystery of movement. i guess i'm not a realist. wayne Link to post Share on other sites More sharing options...
sean_reid Posted September 25, 2006 Share #53 Posted September 25, 2006 That is in the realm of the realistst of tthe 19th centurry, ie Gustave Courbet, Honoré Daumier, Hilaire Germain Edgar Degas, Wilhelm Leibl, Edouard Manet.Eventually culminating into the "photojournalist" style of Goya. Also the work of Americans Homer and Whistler Hi Imants, Which part of the post are you thinking of? Cheers, Sean Link to post Share on other sites More sharing options...
sean_reid Posted September 25, 2006 Share #54 Posted September 25, 2006 hi sean, your picture shows something which i've seen in a number of yours: anxiety in public places. your travelers often seem more distressed than having fun! what do you think? seems to me we all create a fiction, as winograd implies. wayne Hi Wayne, It's an interesting question to raise. When I have time to cull and edit, I'll think about that to see how general it is. Thanks for the thought. Cheers, Sean Link to post Share on other sites More sharing options...
sean_reid Posted September 26, 2006 Share #55 Posted September 26, 2006 Hi Again Wayne, Well, I've been editing a wedding today and just recently your comment came back into my mind. And now I know the answer. Many of the people in my pictures have looked tense because that's the way much of the world is looking right now, especially in public places. But I shoot weddings the same way I shoot anything else and the emotions I'm seeing in those pictures are often intense, wild, loose.... For example, this from a wedding shot two weeks ago near Cape Cod. Cheers, Sean Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/1447-sean-reid-and-street-photography/?do=findComment&comment=58337'>More sharing options...
smokysun Posted September 26, 2006 Author Share #56 Posted September 26, 2006 hi sean, nice shot. and i like your other wedding photos a lot. i do think the atmosphere is different, since there is a protected feeling at a wedding. that's why i like fiestas, fairs, dances,circuses any place that creates a self-contained world (like theater). in fact, i've thought of calling my show in the spring 'utopias'. i suspect i'd be right at home at photokina as we speak! this probably should be on the color thread, but i've been going back over the summer and seeing what i can do changing color photos to b&w. i like high contrast, so it seems easy. raised on film noir. take a look at d-lux 2 image in the image (b&w) summer 06 Photo Gallery by wayne pease at pbase.com i do plan to work on it. any suggestions? thanks, wayne ps. put them on a grey background, per your request from long ago. Link to post Share on other sites More sharing options...
Guest stnami Posted September 26, 2006 Share #57 Posted September 26, 2006 Sean the part about pictures of a figure/group in a defined space and as well as organising these figures etc within the space. Organising the narrative pictorially via composition that connects the audience with the subject. Goya well a true photojournalist without a camera replacing the camera with a 'poetic licence' Wayne I doubt if the 'Realists' were even realists as the tried to translate the world, the how things are. This was done as objectivly as possible without straying from subjective reality, but their ideals and experiences also took hold of their artworks along with the structural symbolic elements pertaining to art practice Link to post Share on other sites More sharing options...
sean_reid Posted September 26, 2006 Share #58 Posted September 26, 2006 hi sean, nice shot. and i like your other wedding photos a lot. i do think the atmosphere is different, since there is a protected feeling at a wedding. that's why i like fiestas, fairs, dances,circuses any place that creates a self-contained world (like theater). in fact, i've thought of calling my show in the spring 'utopias'. i suspect i'd be right at home at photokina as we speak! this probably should be on the color thread, but i've been going back over the summer and seeing what i can do changing color photos to b&w. i like high contrast, so it seems easy. raised on film noir. take a look at d-lux 2 image in the image (b&w) summer 06 Photo Gallery by wayne pease at pbase.com i do plan to work on it. any suggestions? thanks, wayne ps. put them on a grey background, per your request from long ago. Hi Wayne, I had the same thought yesterday. Weddings are indeed like protected spaces. I love photographing at weddings and I'll talk more about why in another article. For a photographer with my sensibilities, it's not only a good subject but a fortunate set of circumstances to be in. I'll look at your new pictures today. Cheers, Sean Link to post Share on other sites More sharing options...
sean_reid Posted September 26, 2006 Share #59 Posted September 26, 2006 Sean the part about pictures of a figure/group in a defined space and as well as organising these figures etc within the space. Organising the narrative pictorially via composition that connects the audience with the subject. Goya well a true photojournalist without a camera replacing the camera with a 'poetic licence' Yes, I agree. Cheers, Sean Link to post Share on other sites More sharing options...
sean_reid Posted September 28, 2006 Share #60 Posted September 28, 2006 hi sean, nice shot. and i like your other wedding photos a lot. i do think the atmosphere is different, since there is a protected feeling at a wedding. that's why i like fiestas, fairs, dances,circuses any place that creates a self-contained world (like theater). in fact, i've thought of calling my show in the spring 'utopias'. i suspect i'd be right at home at photokina as we speak! this probably should be on the color thread, but i've been going back over the summer and seeing what i can do changing color photos to b&w. i like high contrast, so it seems easy. raised on film noir. take a look at d-lux 2 image in the image (b&w) summer 06 Photo Gallery by wayne pease at pbase.com i do plan to work on it. any suggestions? thanks, wayne ps. put them on a grey background, per your request from long ago. I looked, they're interesting and I'm thinking about them. Cheers, Sean Link to post Share on other sites More sharing options...
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