Regeln für einen Street-Photographer

29 Apr

Ich habe es bereits angekündigt: ich möchte mich verstärkt der Street-Photography zuwenden. Im MUSE-INGS-Blog habe ich in einem Post (hier) die folgenden Regeln gefunden:

· BE MORE AGGRESSIVE

· GET MORE INVOLVED (TALK TO PEOPLE)

· STAY WITH THE SUBJECT MATTER (BE PATIENT)

· TAKE SIMPLER PICTURES

· SEE IF EVERYTHING IN BACKGROUND RELATES TO SUBJECT MATTER

· VARY COMPOSITIONS AND ANGLES MORE

· BE MORE AWARE OF COMPOSITION

· DON’T TAKE BORING PICTURES

· GET IN CLOSER (USE 50mm LESS)

· WATCH CAMERA SHAKE (shoot 250sec or above)

· DON’T SHOOT TOO MUCH

· NOT ALL AT EYE LEVEL

· NO MIDDLE DISTANCE

Weiter habe ich noch folgendes gefunden – über Serendipity und Volumen (im Sinne von Quantität) (im Street Photography Guide from photo.net):

  • The best thing about street photography: serendipity. The best thing about street photography is that it is possible for the final viewer of a print to see more than the original photographer. One of the great things about a city is that more things are happening, even within a small neighborhood, at any moment than any human can comprehend. Photography allows us to freeze one of those moments and study all of the small dramas that were taking place.
  • „Volume, Volume, Volume. Garry Winogrand is famous for having exposed three rolls of Kodak TRI-X black and white film on the streets of New York City every day for his entire adult life. That’s 100 pictures a day, 36,500 a year, a million every 30 years. Winogrand died in 1984 leaving more than 2500 rolls of film exposed but undeveloped, 6500 rolls developed but not proofed, and 3000 rolls proofed but not examined (a total of a third of a million unedited exposures). This is the kind of dedication that you need to bring to a street photography project if you hope to achieve greatness.

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