brenz89

<p>I'm currently studying photography in London, and street shooting here has changed my mentality about shooting in smaller places. I'm from a much smaller city (250,000 people) and London has allowed me to get much closer to people than I had been doing before. The biggest problem I've found here is the sheer volume of tourists. They are often less than photogenic, but of course, like any place that relies on tourism, that are part of the fabric that makes this city.<br>

I have been stopped by the police once, somewhat reasonably, as a friend and I were using tripods late at night near Buckingham palace while a large diplomate meeting was happening inside. Otherwise, no one has ever seem bothered by me and I have never been challenged about my intent. This could be down to my technique though, I am mostly rather fast and I do know my equipment inside out.</p>

Sorry for the double post. I'm thinking it would be MUCH easier to have in this order, from the bottom, the dry print, the neg strips and then another piece of photo paper. Then just develop the paper, and make a contact print for the positive. Of course though, undeveloped film isn't see-through so what is the easiest way to make it blank?

This technique would be easier, but it would mean loosing the fun of the neg strips having the original picture on them. And if you so desired, with the strips you could arrange them differently, out of order, crooked etc.

Brendon

John, that makes sense. Negs under the paper, and light above it. Got it!

Scott, I don't want a straight print you see, I want to see the sprocket holes and see if the result will be visually interesting. It would be a super easy manip on a computer, but theres nothing like spending time in the darkroom experimenting

Thanks guys

Okay, I'll explain my idea the best I can...

So you start off with a positive black and white print. Then, in complete darkness, you cut a roll of film into

long strips, and lay them on top of the print (which is dry and placed under the enlarger lens). You then flick

the light on and off (I don't know how long for, I'm guessing about 1/3 of a second or something like that,

depending on the ISO. You then develop the negatives (which will of course be tricky as there are 8 or 9 strips).

My question is.... will the negatives record what was on the print???

If they do, you then just contact print them and there you go, fun manipulation!

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http://brenz89.deviantart.com/art/War-is-not-the-answer-88557274

Anyone got any thoughts on the pictures?

Part one

two

three

Let me know what you think, and sorry for the links

I'm getting paid to shoot the post ceremony festivities for a neighbour, but I'm not really sure of the

'must-have' shots I should get. All I can think of at the moment is The Speech and some beauty shots of the

couple. Its going to be outdoor in there beautiful garden, which is very handy as a backdrop. They also have a

pool which I hope to get some interesting reflection shots from. I also plan to get a lot of candid moments

captured (My 'field' is street photography, and I have a pretty keen eye for this stuff)

Any advice will be handy. Thanks.

Sorry Eugene, don't mean to one up your post(!), but I've found all 6 episodes available on google video

http://video.google.co.uk/videosearch?num=10&so=0&q=the+genius+of+photography+duration%3Along&start=0

They are temperamental though for me and some load extremely slowly.

Clive, they definitely can be uptight, thats how it seems to me sometimes. But then other times, they feel more quiet and reserved. People elsewhere seem louder, and have more street moments, you know?

As for hosting on this site, I plan to be most selective of the work I put on here as I less so on other websites. But yeah, my better stuff will be hosted on here too.

Thanks Frank, abstract what was I was going for. Abstract street shots are something I am trying to work on.

Opinions please