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© Copyright 2007, John Crosley, All Rights Reserved, First Publication 2007

A 'Cinderella' Story?


johncrosley

Nikon D200, Nikkor 70~200 f 2.8, desaturation in Channel Mixer with the 'monochrome' button checked (ticked) and color sliders adjusted 'according to taste'. Not a manipulation under the rules. Full frame.

Copyright

© Copyright 2007, John Crosley, All Rights Reserved, First Publication 2007

From the category:

Street

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Life can be dull and boring, especially if you're a housewife with a

mop, or a dark-suit-wearing businessman walking through a run-down

residential neighborhood. But, the sign promises a 'Cinderella' life

of tango for those caught up in the ennui of daily life; just throw

down your mop and maybe trade in your dark suit for a tango outfit.

(Scene: Buenos Aires, Argentina) 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

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neat first shot! ?reposition so the poles on the left are not there and shoot the next few people thru the scene? jh
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Repositioning was not a possibility, or I'd have done it.

 

This was shot through a moving taxi window (the window was open).

 

The pole, left, was immovable, and even if I'd been able to move about, I could not have changed it; it stays where it is.

 

The street sign pole, left center in front of the man is just one of those things you have to live with in 'street' photography. If the poles weren't there, this would have been posted long ago.

 

Lastly, if one really were on foot and able to reposition, the only way effectively to do that would have been to 'anticipate' the shot, move one's placement accordingly, then wait for the man to cross the field of prospective view -- in essence a 'waiter' as critics of Henri Cartier-Bresson have termed various of his shots in which a passerby is of importance to fill out a scene, and there always seems to be one in his shots and at just the right point. That suggests he spotted 'scenes' ripe for shooting, then just stayed put until the right person came along.

 

I do the same thing many times, but in a moving taxi, with this guy alone in an isolated neighborhood, and no one else within ten miles probably even wearing a suit, this was an impossible or improbable shot to reshoot -- to stop the taxi, position one's self at the 'right spot' (where would that be anyway?), then wait for the next guy in a black suit. (It might be a year in that particular neighborhood.)

 

So, good analysis and suggestion, but not all photos are 100% winners. This one has 'character' but its 'character' also has flaws.

 

Don't we all?

 

John (Crosley)

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