Oh, good! I’m so glad you like this one, Richard, it’s my favourite of the three I’ve posted so far. I have to say it hadn’t occurred to me how much white there would be (yeah, yeah, I know!) so I have a lot of blown highlights in my shots from that day.
At the time, I was getting frustrated about not getting a clear view of people with everyone milling around, but in retrospect and with much judicious cropping, I rather like some of the results of that, like in this one. It was interesting for me – as you know, I don’t often shoot people, but now I’d like to try some crowds (from some nice, safe vantage point). 🙂
Most superb indeed. This approach combines your syncopated aesthetic eye for detail with a Cinéma vérité atmosphere. This series are stills from a European movie. 🙂
I wonder how it ends and do I need subtitles to understand Australian ? 😀
Oh, superb!
Oh, good! I’m so glad you like this one, Richard, it’s my favourite of the three I’ve posted so far. I have to say it hadn’t occurred to me how much white there would be (yeah, yeah, I know!) so I have a lot of blown highlights in my shots from that day.
At the time, I was getting frustrated about not getting a clear view of people with everyone milling around, but in retrospect and with much judicious cropping, I rather like some of the results of that, like in this one. It was interesting for me – as you know, I don’t often shoot people, but now I’d like to try some crowds (from some nice, safe vantage point). 🙂
Most superb indeed. This approach combines your syncopated aesthetic eye for detail with a Cinéma vérité atmosphere. This series are stills from a European movie. 🙂
I wonder how it ends and do I need subtitles to understand Australian ? 😀
That’s a lovely compliment, Joseph, thank you.
You might need subtitles to understand Egyptian Arabic too. 🙂