Belgian Kids in Kensington Gardens (these kids weren't posing, so much as poseur-ing. I took several images, but they weren't aware of my presence...(too taken up with themselves, I think).

I don't participate as much as I used to, but the elves choosing of a Dummett photograph compels me to say "Bravo" to a true master of this site.

 

A typically wonderful example of Tony's work... I know HCB is one of the photographer's favourites but I believe - in many instances - that Tony's own work matches Monsieur Cartier-Bresson's in quality, if not quantity.

 

All photonetters not intimately familiar with Tony's work should do themselves a favour and visit his exquisite portfolios (particlarly the folder from which this image was drawn).

Since I only rarely shoot street stuff, I probably can't fully appreciate the greatness of this image. But I can tell that there is a lot going on... slearly a fine "moment" captured. It seems to me that there are many emotions represented here... Almost symbolic in a way, and a great study of human interactions and social behaviour.

What problem should anyone have about this shot perhaps being posed? Posed or not, it is a wonderful shot. Yes, it is a very good example of "the decisive moment", but it is also a wonderful composition from an excellent perspective. Better not posed, yes, but this shot is really something special. BRAVO.

This is just perfect. There is really nothing more to say ... but I'll talk more anyway! Thanks for posting all the before and after shots. It's really interesting to see how perfect things have to be to get a shot like this. The studied non-chalance of the guy on the right, the hand up the skirt and the actual kiss (the pic where they are almost kissing doesn't work), the hand postions ... it's like a composed painting and if one little thing is changed, the whole thing falls apart. I've just started experimenting with street shots and this shows me how very far I have to go - as does your whole portfolio. Bravo to the Elves for selecting something different and interesting. Great shot, Tony!

Outstanding. I've always admired Tony's work. This is a really cool picture of

some cats who think their the coolest. Nice work.

OK. Let me reassure everyone: [foghorn] THIS ISN'T POSED [/foghorn].

It's part of a sequence of these people I took that day. The other pics in the sequence are here (with annotations).

I was going through a stage at that time looking for real-life tableaux... life and movement actually coming to a stop ... and photographing it when it did so. Real street photographers are able to take motion and make it look like it's a tableau, when it's not really. This was a lucky concurrence of the right angle, framing, focus, exposure etc. and a pose that interconnected the subjects in ways they didn't realise they were connected (but the photographer does).

The immediate aim is to extract a sort of "truth" from an otherwise random scene.

The ultimate aim is to educate oneself in why people do what they do.The theory goes like this: if you can capture the essence - the "truth" - of a scene, then you understand it a little better than you otherwise might have. It's a practical way of attempting to learn about life, but only one of many such ways. Part of the understanding is learning how to anticipate what your subjects will be doing before they do it. The concept of "the decisive moment" is not entirely about rapid reflexes. It is about understanding what you are seeing. The photograph is merely indirect proof that you managed to achieve that, to a greater or lesser extent.

Sportspeople play sports. Actors interpret texts. Painters paint... all to achieve the same end. Photographers, unable to draw, run, or be courageous enough to stand up in front of an audience (all true of me, at least), make a photographic record of their understanding of others and the world we all live in. The more technical constraints you put on yourself - printing full frame, for example, or never posing your subjects (although they may pose themselves) - the more you test yourself and your perceptions.

That's what street photography is about, for me.

I hardly ever comment on the photo of the week, but I am a lover of street photography and this is just about as good as it gets. I am amused by some people who seem not to be able to get past the point that it is not a "posed" photo. This is exactly what makes street photography so wonderful and and so misuderstood. This type of photography is so hard and so rewarding at the same time. When you actually nail one of these, it can be one of the most rewarding moments in any street photographer's career. Bravo, Tony

Remember that 20 years ago, it was the sexual liberation, burning of the bra, peace man, flower power, freedom from parents, owning your own car or vespa bike etc, people were not self conscious when a stranger points a camera at their direction. Girls & women use to giggle and people just carry on etc.

 

People are most definitely aware that a photographer within their sights but they are simply oblivious to it and simply do not care thus photographers had the liberty to walk around and shoot without any fear thus street photography was much more enjoyable .

 

Tony Dummet has made a typical street photographer capture, well done and take nothing away from Tony.

 

However with due respect, unless the youths are either on drugs, drunk as a skunk or intellectually handicapped, the youths are quite aware and conscientiously of his presence as he has been following them around for a while.

 

But I still consider this street photographer as they were not posed or staged, they were simply enjoying their freedom and carrying on with what they were doing.

 

Again, no disrespect to Tony, 11 out of 10 for your efforts.

 

Thierry Burlot comments, not so different from the kids we can see nowdays, only goes as far as the attraction to the opposite sex but times have changed as youths are now very street smart.

 

Theses days, you really put yourself at risk of being verbally abused, harassed, bashed and kicked and have your camera damaged etc.

 

Unless you befriend with the youths and maybe even offer them free prints so that they just carry on but they will still slightly alter their behaviour.

I can't add anything unique to accolades previously bestowed on the photo, but I would like to comment on the comment by the photographer:

"The concept of "the decisive moment" is not entirely about rapid reflexes. It is about understanding what you are seeing. ..."

Truly a cogent and helpful remark from a master photographer. Thanks for sharing.

Tony, I hope that you will not mind if I remind some of our newer viewers that you have gotten the Photo of the Week before:

 

http://www.photo.net/photodb/photo.tcl?photo_id=147795

 

--Lannie

And another time before that!

 

http://www.photo.net/photodb/photo.tcl?photo_id=151914

 

Congrats on what is surely a record, Tony.

 

--Lannie

I've seen this a couple of times now, and each time I think I like it even more. I agree that Tony recognized the potential this offered and hence worked it successfully. What makes it work for me is that this scene has a variety of interesting characters all in one local, all doing their own thing, almost oblivious to the others next to them. It's also made even more interesting, I think, because time has moved ahead as well, leaving behind a distinct 70s style that is no longer around today. I would guess even back then, this would still be a nice image, though probably not much more than that. However today, thirty years later, it's refreshing to look back in time and remember what things were like when I too was young and seemingly invincible... had few worries... just wanting to be with my friends... and have a good time. Life was simpler then...

 

Very well captured Mr. Tony.

Well, I am very happy when the photo of the week is a photo I like. This one is wonderful. I love the midtones and as someone said seems like a social interaction study. Congratualtions to Tony who has maybe the best portfolio in photo.net as the only competition is from Iain McEachern.

Congratulations Tony for being POW again, your portfolio really deserves it.

But concerning this very image, although it's an interesting vintage mood here, I feel everything is a bit too packed here.

It's an outdoor scene but I miss some air: trees and horizon are cut very low and the composition is too tight on shoes and bench limits as well, too many people on the bench, ...

As a more minor point, I miss a little extra contrast also (I can see some magenta traces too?)

I was thinking if you had taken it in square format adding more space up and down, it could have been a great LP cover for a 70's pop group! and for some obscur reasons, it reminded me of another very good shot of Salmonpink

Nice photo... though I would trade the space above the horizon line for more foreground. -Greg-

Not sure why so many people seem to think this shot was posed. I do not get that impression at all. Is it unusual to see a bunch of kids hanging out in a park? Besides, isn't the idea of "posing" a shot to make it look "natural" or "unposed"? How then would anyone claim to know the difference in every single case? Another point worth mentioning is the fact that some of the most famous street photos of all time were "posed". The kissing couple by Doisneau comes to mind. Whether or not a photo like this is posed there is still a natural organic element to it. The "posing" is just direction: "Ok kids, just hang out and act natural, do your thing." What they do is left up to improvisation, much like the interaction between a stage or film director and his actors. This is a great photo.

What a wonderful change of pace -- 'street' photography seems somewhat under-represented and little appreciated on Photo.net -- at least reputationally.

 

With the exception of the wonderful work by Tony D., above and the documentary and 'street' work of Ian McEachern, noted above, some of the wonderful 'street' artists on the service such as Balaji, Edmo, Frederic Pascual, 'street' work of Miles Morgan, and others of note generally seem underappreciated -- drowned out somehow in the world of supersaturated and Photoshopped landscaped and nudes that predominate on this site.

 

The wonderfulness of this photo is the separateness of the individuals, yet their connectedness -- each in his/her own world, yet their togetherness, all caught and exemplified in this photo which ties them together and yet keeps a proportional amount of space between each individual/group for a most pleasing aspect -- something that able photographers dream of. And each distinct set has its own story, for a most engaging capture -- a photo that the eye (and mind) can linger on, a sign of a compelling capture.

 

And Tony D. has been most generous and unassuming in showing what 'street' work is all about by demonstrating that 'street' art is not only about making the capture but also about 'selecting or editing' the best capture from the humdrum, in showing us his editing process which meant showing us some very ho-hum companion shots, an act of great humility by a great artist.

 

His humility only redounds to show the greatness of his art -- some of the best 'street photography' is only revealed when reviewing negatives, contact sheets, or digital captures, I think.

 

By comparison Henri Cartier-Bresson, before the outbreak of World War II, as much for pride as for economy and safety destroyed all his negatives (even the borders around his negatives) except his publishable 'keepers' (thus making it almost impossible to print the remainders -- especially since he insisted on full frame prints). How many 'stinkers' do you think that great artist destroyed, keeping in mind he hoped for a place in history and planned to fight for the French Resistance? (He was captured at least twice, maybe three times, and photographed the liberation of Paris for the Allies.)

 

Tony D. has the talent without the great ego, I think.

 

Thanks Elves and Tony D.

 

John (Crosley)

What a shot. How many stories on a single park bench ... this image is a whole theatre representation, and these guys are the actors of their life. By the way, I really like contrast & framing. Congratulation.

 

Alberto

...It's been too long my friend. Good to see you on here on the front page again mate.

Whimsical image. Always liked your 70 circa shots. You still shoot film? I sure do..:-).

This shot stands for itself without any help from old masters.

It's so amusing they are posing wihout knowing they're posing.

Expressive and charming photography.

what a great shot. There's so much mood in it; and you can feel the style of that epoque through the way they are dressed, their style, their postures... haircuts... lovely!

 

thanks for sharing :)

I always admire people who dare to take pictures like this.

Last comment for today...

 

Thanks everyone. I didn't know so many contributors knew about this pic.

 

On the shortness of foreground: everything is important in this picture. You shouldn't fall into the trap of thinking it's just of these young kids. Just as important is the placement of the tree, the litter bin, the distant line of trees and the chap walking from right to left across the picture in the background. They all make up the scene. Everyone and everything in their place. If I was just trying to capture the kids, then I'd have asked them to pose... but we've been through that discussion already.

 

I'm glad so many of you appreciate the connectedness of the various poeple in the frame. To me there's a progression from left to right from Joe Cool lounging, to the two talkers, to the two lovers, to the guy at the right who seems pissed-off about something.. perhaps one of the missing girls from the earlier shots went off with another guy? Whatever... he looks quite introspective and alone, as I was at the time.

 

Frustrated at being broke and a bit lonely, I used to go out to the parks of London to meet people and ended up photographing them instead. Perhaps the reason I didn't get to meet so many others was my hair: it looked like I'd grabbed onto a live wire and held onto it long enough for the effect to become permanent. It would have scared off all but the brave.

 

I think the Nikkormat was a perfect camera: physically balanced and with a slight reduction viewfinder, you could "look down" on your subject, as if it was already on a light box for review. It was a good way of distancing yourself from reality. I still have it (although the seals have perished and it can't be used). The 50mm lens sits on my office desk here as I type: coating scratched beyond recognition, but still useful as a magnifier in my toolkit. Also good for spotting tiny grass ticks on the dogs. Honorable and useful retirement.

You can count me in the admirers of your work. I did knew of this picture before and am happy to see that it became a POW... your whole portfolio is impresive. It was surely a difficult task for the elves to select just one image as a POW... I also find your Blood Sweat and Tears folder very educational. For all of those who have not yet visited the whole portfolio of Tony Dummett, what are you waiting for? Congratulations.

Up to today I felt me attentive :-)) As well as I favor the narrow space at the sides for remarkable intensity I miss a bit more space at the bottom.