black and white: then to now 'The Riders'

When a man's too weak-kneed to stand up on a swaying and

bucking Metro car, exhausted from whatever, a true blue woman is

there to hang on to, never wavering, no matter how weak he is for

the moment, belying the phrase 'the weaker sex'. Your ratings,

critiques and observations are invited and most welcome. If you rate

harshly, very critically, or wish to post a remark, please submit a

helpful and constructive comment; please share your photographic

knowledge to help improve my photography. Thanks! Enjoy! John

(Please have a look at my posted photo from my very first roll of film,

the only photo in its own folder, and see how little my 'street' style

has changed, for better or worse in decades and decades)

Sensitivity:  Hi +0.3 where highest rated is 3,200 ISO.  Though the camera purportedly has the same high ISO rating as the D300 and the D300s as well as the D90, it reliably takes photos at substantially higher ISO ratings, I have found, either due to undisclosed or unknown to me improvements in sensitivity in this prior generation consumer camera, OR there have been substantial subware improvements, making this consumer camera substantially superior to the D300, D300s and D90 for such shooting, at least for high-ISO sensitivity, though not for 'getting the camera to fire' in low-light situations, where this camera seems to stall out and fail to fire sometimes -- something that the D300 and the D90 did not do on 'C'. in 'release' mode. 

Camera set to 'release' mode/not 'focus' mode.

D5000 and kit  f 3.5-5.6 V.R., at f 5.6, vibration reduction 'on'.

Metro coach was of 'older' kind with poorer lighting (new ones have vastly more lighting).

Consequently shutter speed under such lighting was 1/13th second.

john

John (Crosley)

How to get a sharp exposure at 1/13th of a second at f 5.6 on a bucking and swaying metro coach under such miserable lighting?

Look elsewhere while the train is traveling to the next stop and assess.

Wait for a stop.

When doors open, passengers exit and enter.

Look elsewhere before the stop, and do not look at subjects except peripherally to prevent them from knowing you're assessing them for a photo and tipping off a reaction, including their stares.

When the train stops, doors open and passengers have exited, others have entered and the view is clear, promptly step backward to the coach center, immediately turn toward the subjects from the central coach way and fire away at 31 mm (focus actual distance) four quick shots in rapid succession in release mode. 

Brace camera well and do not try to disguise good technique or 'fire offhandedly' - great technique is called for in such low-light situation, and there is no substitute for even a steady holder like me, and even with vibration reduction on a lens to get a sharp photo at 1/13th of a second.

All shots were pretty much tack sharp and completed before the doors had finished closing.  Total firing time, less than two seconds, with camera frame rate 4 frames per second maximum plus time for shutter to remain open.

No photo shows any awareness by either subject of their being photographed, though the process did alert them, especially the woman, immediately afterward, but well after the photos were all completed.

No bucking and swaying had a chance to cause interference, because the train was stopped during the captures.

All was planned before hand, even though mostly in a thrice.

Little was left to chance.

The man was going nowhere because of his condition, whatever that was, and hence neither was the 'stalwart woman' whom he is clutching.  He needed her, and she was not about to leave him alone.

Many people react well to need.

She was needed, and she knew it and accepted it.

For him, she's probably probably a long-term 'keeper' no matter what their relationship. 

(I know nothing of their personal situation other than what you see and what I saw two or three stops before taking this photo series and for one stop afterward before I exited quickly, as the shooting had made me very visible.)

I seldom am so visible in my shooting as to stand in a one-third filled Metro coach firing away some distance from the center aisle down the aisle way,  but I judged this situation was so unique and interesting it was well worth it, and any attendant risk was worth undertaking.

I'd be interested in your view and whether you agree with my handling.

After all, all judgments had to be made 'on the fly' in a very short time.

And 'nobody's perfect' -- everybody makes many less than perfect decisions by the basket full every day - we just sometimes get a chance to correct them or at least subject ourselves to critique.

I justify what I do by assessing that the 'art' I capture or 'create' is worthwhile versus the disturbance that the captures create, based on some sort of continuum, weighing visual and historic merit versus intrusiveness.

This is a 'creation' I posit, as my 'art' does not exist without my seeing or capturing it', and unless I 'create' this 'art', it disappears along with all the hustle and bustle of life, forever lost in life's visual cacophony.  Because of my 'creation and capture' of this moment in life through this photo, I have memorialized this moment and these two so that their depiction not only is specific to them but to the times and even may be universal in some aspects and as such may outlast my life and provide a memory of the times for future generations.

Agree or disagree?

Your point of view has meaning to me.

john

John (Crosley)

(feeling philosophical)

Thanks!

Sometimes you know in your heart of hearts when you've got a good one.

And it's worth taking chances to 'get it'.

Explained above.

I keep risk to a minimum of course, as I'm experienced, but I would have taken much more risk to get this shot.

It's a once in a lifetime shot.

Enemies here were low light, the movement of the crowd, and the sway and buck of the Metro line -- fortunately it was late, the Metro line was not crowded, and the passengers gave this couple their space -- very good for me!

I'm astonished what you can get for less than $500 in a refurb camera and lens combo on clearance from a NYC retailer.

The outfit is nothing great, stalls out in low light often, and doesn't mark one as a high-caliber 'pro' photographer as a pair of D300ses or a D3 and a D700 with pro lenses does, but that kind of attention cuts two ways.

Sometimes touristy/clandestine shooting with a simple camera/lens combo works out OK; it's the result that counts, not the groupies (I miss the groupies however . . . . ).

;~))

I KNOW that Cartier-Bresson armed with a point and shoot would be taking Cartier-Bresson photos, only with a point and shoot a short time after he'd figured the new camera out. 

He'd be far less prolific at the start, his production would fall markedly, but the end result would would look little different though certain shots he'd miss entirely because of lack of camera speed.

In the end, it's the photographer that counts; the equipment helps but is not  dispositive.  A good camera is a help, but a good photographer is more important.

This is my reply to those who say they need the finest equipment, as I've been known to shoot with the highest-quality Nikon equipment made.

I've been a huge victim of NAD (Nikon Acquisition Syndrome) at times and still am.

This shot, made with the lowest-priced equipment suitable for shooting in low light including specifically the Metros is not 'chopped liver', and I took a chance for which I have been suitably rewarded.

Thanks for the fine compliment. 

I'm immediately placing this among my best ever.

john

John (Crosley)

Hi John, you are right to be pleased with this 'capture', as you have explained there is so much more going on than just taking a photo.

A brave shot which has reaped just rewards. Well done.

As for low light shooting I have just got a D7000 which is truly outstanding in these conditions.

Regards

Gareth.

Well seen, John, and nicely done! In addition to what you, and others, have already said, I like the passenger at the right, who is looking the camera directly in the eye. He's quite a contrast to the main subjects, who are lost in a world of their own. And the missing ad at the top of the frame reveals a very industrial-looking gauge. It adds to the dilapidated feeling of the old railway carriage, and adds to the sense of timelessness. I agree that this is one of your best.

It's a great real-life street photo(in b/w as it should be). The drama of the couple is boosted by the ignorence of the guy on the right and the passengers in the other carriage

Best regards John!

PDE

Thanks for the compliment.

Faced with a severe budget, the camera chosen worked well enough, but my choice would have been your pair of D7000s, truth be told.

I know their low light ability, and I prize it highly, but the price is too steep. Even one would be treasured.

Perhaps others would send me their unused pro equipment and I could set up a US 501©(3) educational charity (which I can do legally) to provide them with a legit tax deducation.

There must be others with idle equipment that needs to be made good use of/ my e-mail is on my bio page.

I'm dedicated to taking the best photos I can with the equipment I have and I've been missing some, even with this 'best I have' equipment, especially in real low light when the camera won't fire and could use a second camera and a pro lens or two.

Tnanks Gareth for enduring my plea.

Anyone out there want to contribute to better captures from me?

john

John (Crosley)

As much as I've looked at and analyzed this photo, I've failed to recognize that the ad above the couple was missing revealing that industrial looking gaurge.  Good for you for pointing that out; it helps in my understanding of my own photo and why I didn't crop.

Yes, I like this photo, and I'm glad you agree this is 'one of the best', even though it doesn't have geometric features one usually look for in the very best.  I like the modeling effect of light on the woman's leg where his hand clutches it and also is holding something else, which I am unable to determine what.

Best to you.

john

John (Crosley)

I've been aware from the start of the emphasizing effects of contrast, which is why this pair is shown in context and not cropped.

Our eyes and minds like contrasts; it breaks the visual monotony, and helps create stories, I think, don't you?

Best to you.

John (Crosley)

A really beautiful shot with very nice lighting, John!

With best regards,

Ruud.

I know I've got a good one when I get such a comment from you.

Best regards back.

john

John (Crosley)

Lighting was most propitious, as it stretched limits at 1/13th of a second, and still came out well and very sharp at f 5.6.

Thanks.   Best wishes.

john

John (Crosley)

Very nice shot in the space of subway!

;~)

Ivan

Ivan Krocli

Я не говорю по-русски

My own Russian and Ukrainian is so bad it can be said I don't speak either, except enough to find a restaurant (McDonald's) and a toilet (tylet) (PN won't accept Cyrillic symbols--.at least when I try; how you did it is 'alien' to me).

ivan

Ivan (Krocli)

I like this one a lot, 3 of them tell us their story in colors of dreams....Lot of courage too...Best regards, vf

This photo certainly does tell a story (three stories as you say), and to take it on a 1/3 full Metro coach at a low shutter speed, I had to stand in the middle at a stop, center myself and fire away with my body turned toward them.

There was no mistaking what I was doing for everyone on the coach, and I'm afraid it caused some attention, which I am loathe to admit, but sometimes the capture is more important than keeping a low profile.  So, if courage is what you mean by unmasking myself, than in this case, I'll admit to that, but the better part of courage usually is discretion.  (just as with 'valor' as the saying goes).

I don't like to call attention to myself in shooting 'street' but here the effort (and the result) was worth it, but I'm no WEEGEE, with a flash blasting through the atmosphere, although there might as well have been.

There were consequences with the young woman, but I judged that she wouldn't leave her man, and I was quite right. 

She wouldn't, and he was too 'under the weather' to move a muscle.

I just slipped off the train at the next stop, and waited one train then got on the next and went on my way . . . a sylph for the riders on the next train.

As I usually am.

;~))

from your sylph of the Metro (when it's dark and cold and nighttime).

john

John (Crosley)

I was inspired a little by Michaelangelo and his Pieta.

Of course this is not 'high art' as that masterpiece was, but it has a touch of the Pieta to it, I think: e.g., the drama of the helpless versus the stalwart woman.

And I do mean 'just a touch' and nothing else . . . . and no suggestion is made that it aspires to 1/1000th of Michaelangelo's works in any regard -- just that his works have been seen by me and doubtless that particular work helped me to 'see' this one, however much this one has a 'twist' to it.

john

John (Crosley)

This is what photography is all about! I admire not only your vision and technique, but your gutsiness -- I am very careful photographing people in that part of the world.

Thank you for such high compliments -- I shoot for such accolades, though they can be few and far between.

It is rare to see such a scene, too, so I felt obliged to take advantage of it if I could safely.

The woman objected and later came to me and asked for deletions, practically demanded them, and I just said 'nyet', told her 'no deletions' since she had tried to say so in English, and just slipped off the train at the next station.

She was too attached to her man, who still remained squatted in the same place.  Men in Ukraine squat a lot, not just from inebriation, but as a matter of 'resting' when there are no chairs -- squatting in Ukraine and Russia are part of the national habit for young men gathering to pass the time -- something you don't see in America or Western Europe and a way to tell a scene from Eastern Europe if you notice nothing else.

I had counted if there were any objections, the woman was incapable of leaving her man and the man was simply incapable, which is why I had the studied 'courage' -- I often pass up good chances where there is a real danger, but here I guessed there was only danger of words, not real danger.

I was right.

I am glad this pleased you.

;~))))

You are my ultimate critic, like the others above . . . I shoot to please all of you.

john

John (Crosley)

John,  I know I know it's been WAY too long but I try to keep my life simple and I get on PN and don't get off for six hours.   So anyway I saw this picture and since I just posted a picture of my son from several years ago riding the DC metro while wearing a Waldo suit I thought this one was the one I should comment on. 

I think that everyone mostly comments on the couple being the main focus on this picture since well traditionally they are in the middle of the picture and well it is unique the position that they are in.  You could literally crop them out into in place anywhere.  A park, a mall or even some mall and it would seem normal.  It to me seems a picture you take and that is not what is fantastic.  For me it is the man standing next to them.  The space in front of them (that you actually had space) and the way that man looks at you.  He is "panning the camera" and is almost so intimate with you is is doing a Jason Borne thing and WOW I get chills.  I love that he has no problem watching you which for me as I look through your pictures not many people look directly into your camera like this.  As if they know you so well.  I love the contrast in this picture.  The dark is dark and the light is light and there is a rawness to this picture that has that edge to it.  No innocence but no wrong about it either.  But I guarantee there is something that some people don't want "us" the looker to know and I feel that wall in that space.  It's almost like a glass.  It's a well done picture and capture.  Love it.  I always think of you when I do pictures out on the "town".   Miss you!  ~ Micki