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By paulbroad
This is literally from the hip. The prime face should be the blonde, but I suspect people might find the girl with the part obscured face, off putting? Camera hanging over left shoulder, release on battery base used.

EOS7D with 10/20 Sigma at about 15mm actual. Auto ISO due to situation. About ISO1600. f5.6 and about 1/125.


Paul

Tags: Wide Low Candid Girl Shop Portraits and people

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This photo is here for critique. Please only comment constructively and with suggestions on how to improve it.

Comments


banehawi Plus
12 1.4k 3492 Canada
10 Dec 2012 2:41PM
Thats the joy of shooting from the hip, - you never know what you will get.

It works for me. Youve got the main subject, and more so, youve caught a moment shared while they look at the sign. You can see the obscured lady thinks its funny.

Do you ever find that the sound attracts their attention? Ived used my Fuji for some street shots, - not often enough, and its completely silent, being mirrorless, - but I attract attention because I look guilty!


W

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paulbroad 9 114 1045 United Kingdom
10 Dec 2012 5:38PM
The little Canon bridge camera is better, being silent, but in a market hall like this I find people don't notice. Even this close. I try and be looking elsewhere, judging aim out of the corner of my eye. If they hear the shutter, they don't seem to associate it with me.

Paul
iancrowson Plus
6 211 142 United Kingdom
10 Dec 2012 11:45PM
Another good one from the hip.
mrswoolybill Plus
9 948 1479 United Kingdom
11 Dec 2012 8:04AM
I don't often venture into the Critique Gallery as it seems geared towards technical control rather than intuition, but this is territory that I understand... I find shooting from the hip liberating, in that it does require skill but involves a large degree of the unpredictable. You have to accept the truth of the frozen moment even if it wasn't what you planned!
This composition actually works very well for me and that's largely due to the strength of the face on the left. You have a sort of V shape in the frame, the falling diagonal of three faces (one reactive, one reflective, one the instigator) then the rising diagonal of the card sign on the right.
When doing this I automatically use the widest angle available and crop later if required. I suspect that you may have cropped a bit off the left to reduce the impact of the face on the left I'd like to see a bit more breadth there, if the original frame does provide it.
Moira
Focus_Man 6 481 631 United Kingdom
11 Dec 2012 9:51AM

Quote:I don't often venture into the Critique Gallery as it seems geared towards technical control rather than intuition, but this is territory that I understand...
Moira


It would be nice if you were to venture into this gallery as your help with your kind of work, I feel sure would be appreciated by many uploaders.

A nice picture Paul, the result has worked out fine for you and the technique is not as easy as it seems so you have done exceptionally well with your camera positioning.

Frank
ErictheViking 3 124 102 Scotland
11 Dec 2012 12:47PM
I love this image, its spontaneous and shows genuine reaction in a natural setting. I did find for me the card rack distracting as all the action is really on the left of the shot so I have loaded a mod of a tighter crop bringing the blond lady further in while trying to maintain the diagonal from the face on the left to the right bottom corner. Smile I like the partial image on the left as you have stripped away everythiung from that person but the essentials to show her reaction.

Great Image Paul Grin

PS your braver than I am to attempt this, I'd be too scare of being chased. Wink
paulbroad 9 114 1045 United Kingdom
11 Dec 2012 1:38PM
I think, in 50 years, I have had two or three confrontations. One in the local market hall and two at car boot sales. In general, people have there minds on other things and never see or hear you, even when very close. You must appear to not be taking pictures, though, and not look suspicious.

The market hall was a butcher who had been having staff problems and thought I was from the local paper and both car boot people were suspicious themselves. Tax reasons and/or 'hot' goods i suspect.

Paul
mrswoolybill Plus
9 948 1479 United Kingdom
11 Dec 2012 7:04PM
The secret is not to look down at the camera immediately afterwards... Wink
xwang 7 55 8
13 Dec 2012 5:52PM
This discussion made me laugh...we should invite a MI5 or MI6 officer here to give some tips. I was interpreted by a police officer in Doncaster shopping centre for security reason when I took photos of the Christmas lights hanging from the ceiling on Tuesday, and I remembered that I was told that photos were not allowed in a market in Hungary. Taking photos in public is a challenge nowadays. I heard another way, holding your camera with two hands and put them at the back, when you see something interesting, you walk in front of them slowly, and click. People thought that you were casually walking like that, and you never really look at them at all, but your hands at your back keep working. Or you could stop in front of them turning back at them and clicking..Grin see what you get. This is perhaps the advantage of digital,... could be fun.Grin
Paul, I gave it a warp, see if it works or not. The down side is that the girl's face is also a bit distorted.
Jas
paulbroad 9 114 1045 United Kingdom
13 Dec 2012 6:33PM
Tighter crop, good. Not too sure about the warp, Jas, but definately makes you look.

Paul
xwang 7 55 8
14 Dec 2012 8:04PM
Thank you very much Paul for the comment about tones. Excellent point. Very glad to learn from you.
Jas.
Otinkyad Plus
13 2 7 United Kingdom
16 Jan 2013 5:51PM
As said before, this works because of the spontaneous capture of the moment. I think the the way you can only see one eye of the girl on the right helps - you can still she that she is smiling just from that one eye. The laughing girl on the left is also good.

The drawbacks are the woolly jumper bottom left and it would be nice if the frame were shifted a bit to the left - but not a lot you can do about it with a grab shot like this Smile

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