This is all about using selective focus to emphasize a subject, and use of exaggerated perspective to draw the eye into and through the image. This is one of the things I like extreme wide-angles for – the exaggerated foreground-background relationships that happen when you put them very close to something give you a new non-eye-like point of view on your subject that really forces you to consider it formally, abstractly and within its context.
A street find while walking around with the LC-A 120. This is under the railroad tracks that cross the South Bank pier of London Bridge, just across the street from Southwark Cathedral.
I happened to look down, and then saw this admonition to “Look Right ->”. I found it mildly amusing that traffic flow was considered so confusing that it was necessary to tell people which direction to look before crossing the street. And I love the crunchy texture of the pavement and sidewalk. This is at the corner of Finsbury Square where it abuts City Road in central London.
This is another image from the Lomo LC-A 120. The only real reason I ever mention the cameras I use nowadays is to prove a point about there being little to no correlation between the “quality” of camera you use and the quality of the images you make. I have very little control over the LC-A beyond what I point it at, when I choose to trip the shutter, the film I load in it, and the rough guesstimate of the distance between me and the subject. Everything else is really out of my control. But the decisions that are most important are the ones I do have control over – what to point it at and when to trip the shutter.
Knowing my camera and how it records images is also helpful to getting what I want out of the image, of course. But this image above would have not been any more successful if I shot it with a Hasselblad Superwide, a Rolleiflex TLR, or my Fuji XT-1, each of which offer far more control and precision than the LC-A.
I’ve walked past this mural for years, and they re-do it every so often. The primary change from visit to visit is the color palette, but over time, major compositional elements change as well. I’m showing the previous version (circa 2013) and now both in black and white just to keep the comparison visually fair.
The bird’s head on the right is a mosaic, originally including mirror fragments, now painted. I think the fisheye treatment in the first image works well because the mural already has a bit of a fisheye perspective to begin with.
Double-exposures, especially accidental ones, can be so much fun! You never know what you’re going to get, and how it will work out. Here I have two very different images layered one atop the other, both with my Mamiya RZ Fisheye lens. Had they been done with different lenses I don’t think this would have worked out so well.
Given the polarizing nature of the current president’s personality and demeanor, it should be no surprise that he attracts a LOT of protestors. There are always protestors outside the White House – for as long as I can remember, there was a 24/7 anti-nuclear weapons vigil in Lafayette Square, going back to at least the Reagan administration. The woman who spearheaded that protest has since died, so now the round-the-clock vigil encampment is immigration themed, if I recall correctly.
I don’t usually attend protest rallies or photograph them, given that they can be very sensitive events and I don’t want to be associated with anything that might go wrong when two opposing groups confront each other. Fortunately this is a rare thing in DC, but it does happen.
I was out playing tourist/tourguide with some out-of-town friends over the Martin Luther King Birthday holiday. We walked from the Air and Space Museum up Pennsylvania Avenue past the White House, then on to the Washington and Lincoln Memorials before finishing at the MLK Memorial. Outside the Renwick Gallery there was this character:
Inside his white box, he was playing the harmonica through a portable amplifier. There was no discernible connection between his song choices and the overall theme of his demonstration, so I don’t know to what extent he was consciously protesting, making social commentary, or just serendipitously expressing the zeitgeist because his meds were wearing off.
Outside the White House was a different matter, and a much more pointed display of discontent. This was right after the president had made his “shithole countries” comment, so much of the signage centered around that.
I chose this image because of the profoundly ironic juxtaposition of the happy tourists posing for a family photo in front of the White House with the protesting woman in front. This is something you will experience here in Washington that I don’t think you see many other places – the cognitive dissonance of “oh look, we’re jazzed to be here!” immediately adjacent to “I’m righteously indignant and I’m not going to take it any more!” expressed over the exact same subject.
One good thing about photographing protestors is that if you want to get better at “street” photography, they’re a great subject to practice on, because they absolutely want their pictures taken to get their message out to the larger world.
All of these were taken around the Plaza de San Jacinto Artist’s Market.