black and white: then to now Restaurant Scene (Look Closely at the Background!)

This is a 'street' photograph in the purest sense, sans

the 'street' -- a true 'candid' photo with multiple dimensions.

Note the smooching couple and the reacting woman, far rear, as well

as the oblivious woman, foreground drinking her coffee/tea

foreground. Your ratings and critiques are invited and most

welcome. If you rate harshly or very critically, please submit a

helpful and constructive comment; please share your superior

photographic knowledge to help improve my photography. Thanks!

Enjoy! John

Leica makes magic.

 

This is a good example.

 

Cheers.

hey john: I'm very critical of my own photos...always asking myself 'what, if anything, i could have done better'...it is the only way I have found to continue getting better. With that said, I asked myself the same question while looking at this photo (in this case, 'you' instead of 'I'. Before I continue, I'll say that I do like the feel of the photo...all the subjects relaxed. Looks like a fun place, somewhere I would like to visit.

 

Now, my answer. The girl in the forefront...I could think of two scenarios that I would prefer to see...Number 1, I would prefer to see her drinking her coffee with only her eyes showing (she looks a bit disconnected from her cup)...the other scenario would have been to point to the loving couple and when the forefront girl turned to look, snap that photo. Those are just some ideas. Like I said, I think you have a solid photo the way it is. ken

Very nice photo John , I would not change anything. George , what makes you think this photo had anything to do with a Leica? Unless the Girls name is Leica?

Very good street photo, you got 3 people/levels captured here. But, if your photo is good enough to be described as 'great' or other such adjectives, the photo should stand by itself, without your explaining it and pointing out what's happening. Yes I know it's difficult to get some attention to your photos, even the good ones, on photo.net. That presents a very difficult challenge, keep practicing, you have a sense for timing already so good luck!

I like it a lot. Tells a story. Interesting things happening. Subject close up, background complicated. My kind of shot.

Leica makes Magic, for sure, but this is Nikon.

 

One of their sharpest lenses, the 12~24 f 4. I swear by it.

 

On a large enough camera, but not too large, the D200 without the battery pack (the battery clip holders are plastic and break off, so I don't carry mine with me and am awaiting repair on mine, gratis of course).

 

John (Crosley)

 

(this photo fooled ya, didn't it?)

 

 

Your ideas are duly noted, and were choices I actually had and considered on the spot and rejected.

 

It ruins a photo, I also think, to have a subject be surprised and looking at the camera -- the surreptitious (caught in the act) feature is destroyed in my opinion.

 

I have the foreground women actually drinking from the cup, but far preferred her staring far to her left, seemingly disassociated from the scene she knew was unfolding behind her because she was staring in a giant mirror on the wall to her right which revealed the scene behind her.

 

And I only discovered the far-off background woman when I unloaded this image today, and was delighted to do so/she added an 'extra' dimension.

 

As it is, this 'story' unfolds from foreground to background.

 

It's actually 'layered' if you will

 

For those reasons, it's perfect in my mind, and I wouldn't change anything.

 

John (Crosley)

Your comment is right on point, as noted two comments above, but this is the classical Leica style of photography. So don't be too hard on the poor poster who suggested it was a Leica post.

 

It is sharp, almost supersharp for a digital post, as the 12~24 Nikkor f4 zoom is one of the sharpest lenses in the camera bag, and also very contrasty with its short zoom range/ratio. As a wide angle lens, it can be forgiven for being mistaken for a Leica capture with a black and white photograph in a scene such as this. (Who's have ever thought a larger Nikon camera was brought out for such a capture, since Nikons are so obvious, but the ruse was that I was taking 'Anya's' photo, and just turned slightly leftward -- Anya's smart and good at being a 'ruse' when there's a good photo behind her -- she just moves slightly in front of a subject and to the side, then lets me turn slightly to one side to take the 'real' photograph.

 

This is perhaps the first real 'good' photograph where she's become an integral part of the photograph.

 

Thanks for the comment, Michael.

 

John (Crosley)

 

 

It has "that look."

 

Looking at your portfolio, I see that I was not only wrong about the camera.

 

The credit for "that look" belongs to the photographer.

 

Thanks for the lessons.

After over 6,000 rates and seeing some 'great' photos go unrated and essentially down the 'view toilet' because lots of people just didn't 'get them' because they viewed them in thumbnail and didn't click on them for background features that were essential for explaining them, I can tell you for certain that calling attention to vital background features in such a photograph in a request for critique can be critical, especially if one is frequently a 'midnight poster' as I am, when few people are rating or even 'signed on' as is the case when I often post.

 

And it doesn't hurt, even if it's superfluous to point out an attribute of a photo, whether or not it's great.

 

There is an adage of the law that's a little difficult to understand: 'Superfluity does not vitiate' Essentially, it means that even if there's a little or a lot too much, it doesn't destroy anything that's presented (good or bad).

 

So, if this is a good or great photograph, calling attention to its features (good, I hope) does it no harm. In fact, that adage is so important, it has been incorporated into the Civil Code of California as a Maxim of Jurisprudence, and it is a similar Maxim in at least 48 other jurisdictions as well (we don't know about Louisiana, as its law is based on the Napoleanic Code). Lest you say, well, that's law and this is photography, I'll just answer by saying the maxim has universal meaning.

 

Saying something has an attribute doesn't mean it doesn't have an attribute, not does it detract from that attribute, unless one is hyperpurist or thin skinned, and I doubt you are either. I'm certainly not, nor too proud to let a good photograph go down the 'ratings toilet' for inconsequential reasons.

 

With respect.

 

John (Crosley)

I couldn't wait to post this shot, though it is a couple of days old (I've been shooting models at a prodigious clip and this was taken between model shoots on a break).

 

This is actually three different stories.

 

1. The girl foreground is relaxing, having a 'spot of tea' and talking with me, while I am surveying, as always, the crowd.

 

2. The young couple behind her, barely in their teens, (the girl may not even be in her teens, as is often the case in this particular city, but very pretty and acting very 'grown up' for her young age, had an 'older' boyfriend, maybe 14 or so, and enough money to buy her a hamburger -- a prized possession hereabouts, and there was lots of lustful looking and lingering.

 

Just as they were finishing, he went for the 'kill' -- the 'kiss' and I also 'recorded the scene' just as the girl, foreground, looked to her right in a mirror to view the scene, though that is not known to the viewer and that gives the viewer the sense that the scene unfolding behind the blonde-haired girl a sense of her being uninvolved.

 

So, scene two and three are probably interrelated, unless the background woman is reacting to my photographing and my camera (I doubt that actually, based on my view). The girl, foreground does appear disassociated from this scene, in my view, entirely, and thus is not 'the subject' though part of the composition.

 

The true 'subject' is behind her. She is just a 'space filler' with an interesting look -- all the action is behind her.

 

I consider her 'interesting space -- somewhat better than just negative space because of her 'lost' look, which I did NOT dictate in any way, and which she was NOT employing in any way to help or hinder my photography, although she was craning to view what was going on behind her in a wall mirror beside her.

 

So, my analysis differs slightly from yours, but they're on the same frequency.

 

John (Crosley)

John,

 

It is certainly an interesting photograph. One that unfolds to the viewer. There is a lot going on here. I would add that it seems to be under appreciated here on PN tonight. Not sure why. Anyway, I like it. I also don't think your commentary is necessary to draw people in. I was drawn in by the thumbnail. I'm not even that observant. Heck, ask my wife! She'll tell you I could be looking right at something and not see it.

 

Nice shot.

 

Cheers,

Bill

I have Leicas, but their rangefinder viewing is not to my liking. Large Nikons sometimes attract crowds and that works to my favor, especially with large lenses -- they attract attention in poorer countries and earn respect.

 

Generally, Leica photographers are concealers. Henri Cartier-Bresson often famously hid his Leica(s) under, say, a napkin or a handkerchief until the 'decisive moment' when it (they) would come out, if necessary.

 

I may leave one or more cameras propped on a table in full view, but I'm so skilled now I can pick up a camera, auto focus and auto expose a frame I've spotted, take three to six frames in a second and a half and put down the camera in less than three seconds, or just pan around looking as though I'm surveying the room, with few the wiser I've taken photographs.

 

I can be as surreptitious as any Leica photographer.

 

An old movie had the Nazis hiding some troops and reinforcements on a map of Egypt near some letter of the alphabet on a well-known map, and the British intelligence combed the map looking at every camel watering hole looking for the precise letter they believed might indicate the site of the weapons cache/troop buildup.

 

It turned out the letter was the 'G' in Egypt written across the map. Sometimes one can hide things in plain site, as the British learned (but found out of course 'just in time' to save the day.

 

I get smiles when I pick up my big camera and long lens just briefly, frame a photo, fire off one to six frames, and then quickly put it down, with only a bystander even being aware, if that. And I'll adopt that 1,000-yard stare that military sharpshooters are famous for -- that says 'who me? Did I actually do that? Don't look at me, I'm looking out the window now at the passersby, or some other distraction, completely divorced from the subjects (but I might still be following them from the corner of my eye).

 

Street Photography requires a little guile to do it successfully; I hope I have done just that. I have looked at the master (H C-B's) work as well as many of the other luminaries, and have consciously decided NOT to copy them but to follow my own style(s).

 

And I have many; just look.

 

My 'street' style is placed into this 'Black and White from Then to Now' folder for the time being -- my best black and white stuff, generally.

 

My best color in the same genre, into my Single Color Folder, which presently has just under 9 million views (this has just under 5 million views.

 

I hope you'll stop by from time to time and maybe leave a comment; they're always welcome.

 

John (Crosley)

It's 7:02 a.m where I am, and the land of midnight posting for me (I'm used to midnight posts being ignored in the ol' US of A, so I am a little more careful with shots in which the background is 'alive', as here. That's just my posting history coming back to haunt me/ that's all.

 

I'm very glad this photo pleased you.

 

It sure as heck pleased me; I've been up half the night with its downloading, editing and posting (as well as replies). It has special significance for me; low rates or not). Right now it has about one of each rate, which is a true sign that raters are confused by what to do with a photo such as this; they just haven't the experience to rate it.

 

That's tough luck for them.

 

I know what to do with a photo like this.

 

It's one of a kind; I'll cherish it and place it among my best.

 

Thanks for the endorsement; from a sleepy-eyed

 

John (Crosley)

 

 

First off... Well captured! I was excited to see such a great spontaneous picture.

The first thing that I caught, and yes I always see things a little different. He is holding her and making the move on her to kiss her. His arms are on her. Left arm on the top, right arm on bottom. Now where are her arms. we are assuming the right arm is around his waste partly to keep her balance and partly to embrace. The left arm is on the phone! Hello! The left arm is on the phone. So like the kids of today! You must of had a BALL watching them "dance" and eat and court and flirt and text message and just have fun! AND... then the kiss. JOY JOY JOY!! Young love right in your view and you captured it. Now I have a 14 year old and she still doesn't have a cell phone and I figure as long as she doesn't have one she won't have a cute boy (and a kiss) right.

Now I see that they are done with their food. I'm assuming you guys are done are still working on your food. The lady to the far left looks like she must have just arrived since she still has her big coat and hat on. Her look is just that of pure motherly shame and tsk tsk tsk. You caught it right in the moment of her sneaking that peek. Of course she probably turned right away after she saw you looking. She had no clue you took a picture I'm sure. I do find it funny that the poster is looking right down at the kiss! I also think it is neat that nobody else notices it including your assistant (who is really beautiful and please give her my regards).

The whole picture has a length to it, your assistant first step, the kiss, second step, and then the looker, third step. It is a 3D affect if you look at it that way. It is a very good picture! I really like it!! Made my night!! Thank you for sharing ~ micki

There really is nothing to add to your wonderful critique.

 

It stands alone.

 

I might as well have send you the text.

 

Your comment made my day (delayed nighttime.)

 

John (Crosley)

 

Excellent B&W!Best regards

full of meaning and full of story! A superb and simple street photo!

congrats!

I only see it "my way" as it can me totally wrong. But then again a picture is subjective. I turn off movies all the time because of bad direction not because of bad acting. I can't stand a movie that is not put together right. The same thing goes with a picture. You can have the prettiest picture and even the best camera but if the picture is not taken right or it is not taken at just the right moment it just doesn't work I won't like it "period". You John, "got it". This picture is a winner! Going through your portfolio you make a lot more "hits" than "nots". I'm still working on how to take a camera and do something with it. For a living I took photo's and put them into work's of art/publishing and stuff so I know what works. I know what is crap (and I can see it a mile away on PN). Keep clicking out in public. You really have that ability to capture people at a moment where they feel like they are not being watched... it is facinating. ~ micki

This began as a color photo and it was desaturated (using 'channel mixer' in Photoshop CS2).

 

It shows almost equally well in color, but since it is in the style of the classic B&W photos, I chose to display it as a Black and White photo rather than a color photo.

 

Also, the color was a little tricky, but I had captured it both as a JPEG and a NEF (Nikon Electronic Format - RAW) so I could easily probably have done a simple color correction, as the color was not off by much -- such restaurants use pretty good color-balanced lights these days, as opposed to what we usually buy for our homes -- tungsten lights with filaments which usually balance out at 2550 degrees Kelvin, or so my camera meters tell me, a far cry from the 5,500 degrees K. of full daylight (average).

 

And this was a nighttime shot, so there was no issue of 'mixed lighting' with sunlight streaming through the front windows (in rear of photo) and artificial light competing with the sun, leaving what I term 'mixed lighting' or 'mixed color temperatures', which can be the devil to work with, especially where the light comes from several directions -- daylight from one direction -- artificial and thus colored light from another. Sometimes, it's just better to desaturate just to be free of such headaches.

 

I'm glad you like this one and my choice to present it as a B&W. It still may how up in my single color folder though I seldom double post. I just like it a lot.

 

John (Crosley)

First pardon me for not having Spanish symbols installed on my keyboard (not this computer at least.)

 

Thanks for the endorsing comment about this photo.

 

I knew from when I first looked at the view screen on my camera that this was a 'winner' at least in my mind.

 

When the first rate came in and it was a 3/4 or vice versa, I felt 'well, that's the way others see it, but they're just not able to 'see' as I can."

 

I watched the ratings, all low, start to come in, very slowly, went away, returned a couple of hours later and then found the start of a small avalanche of mostly positive comments, for which I feel greatly rewarded.

 

Thank you again for the recognition.

 

John (Crosley)

Publishing's a possibility for photos like this and others that are posted and yet to be taken or posted, if I can find a publisher.

 

I have enough of them to more than fill a book plus also the beginnings of a major text on how to create a photograph of the sort I take in my presentation: 'Photographers: Watch Your Background' -- You might have a look. It's still a work in progress and probably always will be so long as I'm on Photo.net or unless a publisher says 'Take it Down . . . it'll siphon off potential sales'.

 

I can be pretty surreptitious, even with huge equipment; I am very swift to raise a camera, frame a shot, focus (auto focus with the focus point already set before I raise the camera), and swift to reset an auto focus point, or switch from a single point to a focus 'area' instead if warranted -- my fingers are pretty well practiced.

 

I can often take a photo before someone realizes it; and before they can react, be scanning elsewhere with my camera or with my camera down and they'll wonder 'did he take my photograph or did he not?' My indifference may be feigned, but it's real appearing. Maybe it's not feigned, as if I've got that photograph, my interest often ceases. It's the photo that counts, not intruding into some-one's life. Photography is my art and my only art, and if I've 'created' I've no further reason to be intrusive, other than to marvel at human diversity and the human experience as I do from time to time (does it show in my photos?)

 

It's far cry from suing people, defending people being sued, writing legal documents, and advising people of their rights and privileges and also accounting for every hour of every day -- often weeks in advance and having to schedule a vacation by working double or triple time for weeks in advance and also for weeks afterwards.

 

Life's more like a vacation now.

 

I just have to make a living at it.

 

Watch this space!

 

As the advertisers say.

 

Thanks for your very sage and personal comments, again; they're very much appreciated.

 

John (Crosley)

This photo was taken just a short distance (one minute's walk) across a plaza from the photo in 'Hot Summer Dayz', posted previously showing a fountain and young people; taken across a city from the photo in 'The Courtship' showing a man below a woman looking upward and kissing her neck, and just a streetcar ride and a bus ride away from a photo of a crippled man with a cane, depicted in silhouette, all recent posts to this folder (within the last six months and most more recently) -- all of which I consider some of my finest 'street photography'.

 

I cannot get such photos in a culture dominated by autos. I sometimes go to parts of Los Angeles now where poverty dictates that certain classes ride the bus to work and elsewhere, for some very good material, but I'm seldom there unless I'm catching a plane, or catching up on something else -- or even buying a camera.

 

This was taken in an unnamed city in Eastern Europe where flats are small, the wages are low, apartments are crowded anyway and a restaurant like this is often out of reach except for holidays and meat is often reserved 'for holidays' and where the majority of young women may spend the majority of their lives sharing a sweater with their mother and/or sister(s).

 

But lean lives and small flats means lives lead on the street with solid social relationships and much society also on the streets. Poverty does not mean slums either, even though many buildings in this city are slumlike to the Western eye (even mine, and I'm in one now, but the flat is remodeled Western style and pretty nice). But the husband of the grandmother security guard is too often 'loaded' with alcohol, his breath stinks of liquor and he assaults me with 'ZHON' breathing his alcoholic breath all over me when I enter the building, (which is definitely better than being beset by thieves, I'll tell you.)

 

If you want to buy bread, go to where they're selling bread.

 

If you want to write, write about what you know, not what you don't know. Don't write about Renaissance Courtly life, if you grew up in Fresno, California; write about life in an agricultural semi-metropolis.

 

If you want to take good 'street photos' head for a place, as I do, where there are 'streets'. It can be 'San Francisco' where the cost of living is high, but there is much 'street life', or any number of streets across the USA, just as Gary Winogrand did, or one can do as I have done --establish a presence worldwide in various cities and return to them periodically, as I have here, this time with my assistant on our second trip to this particular unpronounceable Metropolis in the East -- a relatively isolated regional center populated by pretty good people and fabulously pretty women.

 

People now often recognize us, think they 'know' us, and sometimes do us 'favors'. We are sometimes treated as 'locals' and often seen by many, more often than the real locals are seen.

 

No one knows we each live 8,000 miles apart except for when we meet and that we conduct business over the Internet when we're not together.

 

We'll probably travel more, and have at least one very major trip forthcoming. She's off to her home town today and I'm staying around, and then she's returning, we think before that major trip.

 

All in the name of establishing my name and my work as a household word, if that's possible.

 

It's good, honest work, and work Anya and I take it on with great happiness, great honesty and integrity (Oh, and although this photo is maybe advertised as not Photoshopped, there is a little minor selecting on the background woman's face and a little selective sharpening of that face -- probably not enough really to make a difference in the photo, if truth be told, but enough to satisfy my insecurities about whether or not the woman could be seen.

 

John (Crosley)

 

When you said, "look closely at the background", I must be honest and say that my eyes went straight back to that poster on the window! ;) Love the juxtaposition of moments you've captured here.

 

Oh, how I would love to follow you around for a day! You and your assistant must have quite a wonderful time capturing these gems.

 

 

-Tammy