Last fall, I attended a wonderful street photography workshop in Paris led by Valérie Jardin. On one of our morning walks, there had been a bit of rain overnight which provided a lovely sheen to the streets. By mid-day, it was gone and the day turned sunny and bright. Turned out to be one of the gifts – a morning after the rain with the payment still wet and the skies beginning to clear.
Last night I revisited this image to post-process it again. I’ve recently subscribed to Lynda.com and yesterday watched one of the courses about Photoshop taught by Adobe’s Bryan O’Neil Hughes in which he revisited many old techniques and brought to light new and better ways to do things. As I watched his lessons, I was using this image as my test case. One of the points he stresses is using a non-destructive workflow in Photoshop – something I’ve not been doing but will certainly make much more use of in the future. With this image, I’ve got all of the layers saved in the TIFF file which is now in Lightroom. At some point in the future, I’ll come back to it – and continue a bit more post-processing doing some dodging and burning through luminosity masks.
I’m having fun revisiting Paris as I post-process this particular image. It was a quick “grab shot” at the time I took it – as I had fallen behind our group and was trying to catch up. Sometimes it’s better to be lucky – this was one of those times!
Summer in San Francisco is always unpredictable weather-wise. Mark Twain’s famous quote is the the “The coldest winter I ever spent was a summer in San Francisco.” It’s always about the fog – and whether it’s dominating the local weather – or whether an onshore high pressure area is keeping the fog at bay.
Today was one of those beautiful summer days in San Francisco – where the two were roughly in balance. There was fog offshore along the coast but it was clear over The City. These kinds of days make for a delightful time – not the coolish foggy overcast but also not an overly warm day either. In other words, just perfect.
I got a late start this morning heading up to meet my friend Doug Kaye – deciding to meet up at 101 California and then heading to one of our favorites for lunch: Tadich Grill. This classic San Francisco restaurant continues to delight – great food at great prices served with attitude. I had the Ahi Tuna Salad special – and it just doesn’t get any better.
After lunch, Doug and I headed up California Street for some street photography. Couldn’t be much better than today!
It’s August – and we’re back out on the streets of San Francisco.
Here are a few images from last week’s photo walk with my good friend Doug Kaye. All shot with my Fujifilm X100T – except for that image up top which is an iPhone 6 shot.
The light is shifting – we can sense it and see it – and we’re looking forward to the sun dropping lower in the sky each day into the fall. We love those shadows – in interesting light!
The reflections of light continue to capture our interest. We’ve become “explorers of light” – as we turn each corner, our eyes quickly assess the quality of the light – and we move in where it’s great and move on where it’s not.
Turns out that there’s nothing much better in life than getting out on the streets of San Francisco – with a favorite camera in hand, walking with a good friend, sharing a great meal, and digesting the results!
A few years ago, I became acquainted with the work of Jaime Ibarra. Around the same time, I started paying attention to color grading – initially in movies and later in photography.
Ming Thein has written about the cinematic look – it’s one of his favorite photographic styles. He says that “obvious hallmarks of the style are an abundance of out of focus areas, a narrow/wide format, and highly directional light.”
Add to that color – in particular, color in the highlights and shadows.
Jaime has recently updated his color grading workflow – which inspired me to dive back into that technique again. The technique delivers a very compelling cinematic image. It’s based on adding contouring highlights and shadows first to the image followed by the color grading. The effect is almost three dimensional – taking flat images into having depth. You’ll see that in these images – lovely depth of lights and shadows along with beautiful cinematic color grading. Enjoy!
Here are a few of my recent experiments – using recent images from New York City and Paris.
I been doing a bit of experimenting over the last few days with black and white conversion techniques. I particularly find the work of Joel Tjintjelaar of interest – see his Joel Tjintjelaar Flickr Stream and his BWvision web site.
Joel’s latest work is based on a combination of masking techniques – traditional “hard selections” combined with luminosity masking techniques pioneered by Tony Kuyper. I’m intrigued with the notion of applying these techniques to street photography and will be experimenting more to see if we can create even more vibrant black and white street photographs using modifications of Joel’s and Tony’s techniques applied to street photography.
Here are a couple of additional examples from my experiments over the last few days:
Composition – and subsequent cropping (if we choose to cheat a bit) – really shapes the images we capture on the street. Sometimes, rarely, it’s empty space that makes the composition.
This is a recent example – shot at Vinton and Grant Avenue in San Francisco with my Fujifilm X-T1 – and, I’ll admit, cropped to perfect.
The focus of the image is the woman moving into the doorway on the left edge. But the empty space – and the dramatic light – really fill the frame. The No Parking sign on the right really anchors that side of the image.
I opted to leave the image in color instead of converting to monochrome. I found the colors of the wall on the left, the woman and the street shadows added a lot to the image. In monochrome, without the colors, the empty space seemed too overwhelming.
Street photography has become my favorite genre – after having gone through a serious period of landscape (including HDR) photography. Landscape is beautiful – you shoot from stunning locations – but the hours are tough (up very early before sunrise – and out until after sunset). Seems a younger person’s pursuit.
Street shooting prefers crowds – typically at mid-day. You can sleep in – and not stay up late.
But there are at least two genres of street photography. One is based on shooting with a wide angle lens (think 35mm). The other is based on shooting with a zoom (think up to a 200mm). They’re very different – but both can be fun. In May 2014, I took a workshop in New York City with Jay Maisel. Jay’s a proponent of the zoom approach. More recently, in June 2015, I took a workshop in New York City with Peter Turnley. Peter’s a proponent of the wide angle approach.
Late last year, after I signed up for Peter’s workshop, I decided to exclusively shoot with my Fujifilm X100T – a classic 35mm rangefinder camera. I came to love the images it produced – and it taught me how see in that 35mm format.
Today, for the first time since I made that commitment, I shot with my Fujifilm X-T1 with the 18-135mm lens. For some street work, having the extra reach of that zoom is just perfect for the street candid style of photography. But the X100T is beautiful for street portraits.
Both genres have their place – I’m going to continue to explore them both!
My friend Doug Kaye and I seem to get to San Francisco’s Chinatown a couple of times each year for one of our street photography adventures. We love the small alleys in Chinatown for their beautiful textures and, during some times of the year, amazing light and shadows. But we also love Stockton Street – the central “market hall” for Chinatown.
Stockton Street always seems to be bustling – with thick crowds of people out shopping the markets that line this busy street. It’s often great fun to watch the crosswalks for interesting people as the cross the street or round the corner right in front of you.
On a recent visit I noticed something quite useful – especially for a guy like me who enjoys sitting down and working a particular scene. On many of the street corners on the east side of Stockton Street there are fire hydrants adjacent to the crosswalks – and they’re just the right height to prop my body on or against as I try to stay out of the way of the busy traffic while attempting to capture the scene.
The image above is one example – Doug is crossing the street (shooting with his new Leica Q) – while I’m holding back and capturing the woman in pink who’s looking at him with just a touch of disdain. I shot this with my Fujifilm X100T – and it’s been tightly cropped to exaggerate the effect here – but you get the idea.
Below is an image of one of these “stools”. I waited a couple of minutes for him to leave – because I wanted it – but he was firmly planted and holding forth on his stool! I thought about giving him my camera and asking him to shoot a few shots! 😉
Next time you’re wandering Stockton Street in Chinatown and need a quick break – look for a stool. Just don’t bother looking on the other side of the street – it’s populated with big hydrants from San Francisco’s high pressure distribution system and they lack a smooth top suitable for sitting on! You can see one of those high pressure hydrants in the background of the image with Doug – it’s got the blue top.
Last fall, I attended a beautiful photography workshop in Paris led by Valérie Jardin. For some reason unknown to me, I decided to take a look back at those images today – and ended up reprocessing several of them.
I love the post-processing of images – brings me back to where I was when the image was made. Wonderful!