George Street and Liverpool Street
Welcome to our series of 100 interviews we will be holding with photographers who use mirrorless cameras for their work! “Switching to a smaller and lighter system” has become somewhat a buzz phrase as of late, but many working photographers take this philosophy seriously.
from Pocket http://ift.tt/1RtEuil
Depuis l’extérieur, le new-yorkais Travis Huggett photographie les fenêtres des bus qui passent, capturant au passage le portrait d’inconnus effectuant leurs trajets quotidiens.
from Pocket http://ift.tt/1Xgq1ew
Imagine all you do in your life is to walk the streets of some great cities and take pictures. No assignments, just shoot what you like … and sell it.
from Pocket http://ift.tt/1MpTlu2
Main menu Skip to primary content Skip to secondary content
from Pocket http://ift.tt/1JFrZuN
There is an all-too-common path that many people follow when they begin to practice street photography. They grab their camera, go to the busiest place they can find, and capture people head-on over and over again. While this is certainly something that you should do, it is not the only thing.
from Pocket http://ift.tt/1H6tWfS
Some shots I took last year under Bangkok’s MRT. Even during the day it is dark down there so my street shooting setting led to some very high ISO values. Just have a look at the exif data under the first shot. ISO25.600! On a camera roughly the size of a Canon Ixus.
from Pocket http://ift.tt/1cpk2xO
The progression of camera technology from the late 1800’s and early 1900’s through today has steadily made street photography easier to accomplish. Focusing distance scales on lenses make it easier to grab shots without adjusting focus through a finder or on ground glass.
from Pocket http://ift.tt/1zHtCah
A photographer and accomplished darkroom worker since his early teens, Mark Steigelman has an eye for the ironic juxtapositions of everyday life, and he devised a brilliant and elegantly simple method of capturing them while stuck in traffic.
from Pocket http://ift.tt/1CTpv7a
In part one we looked at why images of people fascinate us, and the nature of portraiture. However, this only covers half of the possibilities for ‘images of people’: instances where the subject is a conscious and cooperative part of the process.
from Pocket http://ift.tt/1Hl5HP6