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Underexpose, mostly snapshits. Choose your best 5-6 and don't bother posting 37 pictures for the love of god
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Okay, I will just post my 5-6 best ones then.
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Shot with 50mm 1.8D Nikon D610
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Final image
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It feels like you are more focused on post processing and making your pictures "look pretty" rather than telling the story, thinking about composition of the shot or expressing your feelings.
Your photos feel empty to me. Think about why you are taking the photo. do you want to remember these people >>2746183
>>2746185 >>2746186 >>2746181? You wanted to capture mood of the streets? You wanted to remember how you felt that moment?
Or you just wanted to take great (from a technical side) shot?
You've failed at all those things. I think it is because you have no idea why you are taking those photos in the first place.
>>2746228
>You've failed at all those things. I think it is because you have no idea why you are taking those photos in the first place.
*you took
>>2746228
I just wanted something nice in terms of color and visual composition.
>>2746344
>Most of the images weren't post-processed. These are raw shots.
Oh, ok. Your camera saturates the colors then. Also shots are underexposed.
The main thing remains the same: there is no story behind these shots. They are just snapshots.
>>2746347
It's just an awesome camera. And it wouldn't "saturate" the colors unless the shots were "underexposed". That's what gives the photos a heavy and chroma-rich feeling.
I picked the photos for best visual composition. Not story telling.
>>2746349
>visual composition
That is the "story". Composition is not jus well positioned objects in the frame.
>>2746346
You need to pay more attention to what you're taking a picture of and how it has an effect on the photo. If you're taking a picture of people on their phones or people jumping over water or doing anything at all, that becomes part of the picture. You can't ignore it, and so you need to take those things into account when you're composing or taking a picture. If the people walking in the street have nothing to do with the photo, don't get them in the photo. If you want them in the photo, you need to decide on the best way to include them — whether it be in terms of their position on an imaginary grid, or in terms of their posture and activity, or their clothes...
Sometimes you just have to accept, though, that you don't have a good shot. And then at some point you realize that simply taking pictures of people doing specific, mundane things is something mundane itself, and you can go deeper into those mundane activities or expand around them with photography.
My personal favorite is the OP image. The color palette is lovely (though there are some unneeded interruptions) and they're so engaged that you can't see their faces but can see their state of mind through their bodies.
>>2746422
Thank you very much anon trying to get your point across. I trust your advice
>>2746350
I assume you're the same guy critiquing through this thread, while I agree there is a serious lack of subject matter or confusing as to what he's trying to capture or convey, comments like "it's okay that these are bad you're just learning" are condescending and rude, have you never taken an art class before where you learn to critique properly? People aren't going to take advice e from someone who's condescending. Now you've just waisted your time critiquing
>>2746451
but these are pretty bad and it's pretty obvious that he's learning. I don't think that anon stating the obvious was condescending in any way
>>2746451
Whether or not it's condescending, it's true. It's okay to not be perfect, because that's how you improve.
More critique please!~
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>>2746181
I feel like a bunch of these have potential. The following are the ones I liked, and I'll throw in some pointers on what I'd have liked to see.
>>2746183
Crouch down a bit so his feet aren't cut off. Crop out the pedestrian on the left, make it so it's just the man in the picture to impose a sense of loneliness. Kinda makes me think of a real life sadfrog.jpg.
>>2746188
I feel that you should have gotten much, much closer in this shot. The distance makes it difficult to find any sense of anything in it (which is fine if you're starting out). I'd have at least gotten in close enough so that the top of the frame hits where it the sign says "Overthrow BOXING CLUB" and the bottom frame captures the man from the waist up. Get in closer, see if you could have created a scene that says something about the guy wanting to become a boxer or a case of "would have, could have, should have."
No offense, guy, but those were the only two I liked to have said something about. It's all average, and it does seem like you're taking photos without actually seeing and framing and composing something. Which is fine if you're just starting out. Just don't be stuck here.
>>2748289
don't try to shoot manual when it's obvious that you have no idea what you're doing. Stick to auto or Av until you understand how the exposure triangle works
>>2748568
Okay, I didn't know about exposure compensation. Now I know. Interesting.
>>2748573
umm this has nothing to do with exposure compensation. For example this image >>2748290
you shot at f/2.0 and 1/4000 of a second, with an ISO of 64. You could've kept the ISO for all I care and reduced the shutter speed to something like 1/250 of a second and shot with a much higher aperture like f/10 or f/11. Not to mention you could also increase the ISO if necessary, don't worry about things like color loss unless you go to ISO 1600 or even above (depends on your camera model though)
I recommend reading "Understanding Exposure" by Bryan Peterson to get an understanding of what each of the 3 does
>>2748594
I read it online in pdf. I don't think it deviates much from what I already understand about exposure. I don't like images to be too bright because they lose saturation of color and "heaviness" in the image.
I like images that are slightly dark with heavy colors. Oppositely, I don't like images that are too light.
If you could take the image and edit it in Photoshop to show what the ideal exposure is, that would be of great help to me in understanding your opinion.
>>2748599
I'm not saying that the exposure is necessarily wrong, I'm saying that if you shoot Landscape or landscape like pictures, you need a bigger aperture to give your pictures more depth, which you would understand if you would've read the book. Shutter speeds also have a use, with 1/4000 being there to capture very fast motion, which there obviously was none in the picture. Again, read the book again, more carefully so you'll get a grasp of what aperture, shutter speed and ISO do apart from changing the exposure of an image
>>2746181
Almost uniformly boring and empty. They're shot in a way that really only supports storytelling, and yet there aren't any stories to be told in any of these. You're just seeing "a thing" and pointing your camera at it and pressing the shutter.
You've got /p/ syndrome pretty bad, where you're focusing on effects, and finding a single obvious subject to snap, and not thinking at all about why anyone would want to look at the photos. Most of your exposures are off of normal, but without any real reason.
Put the camera on aperture priority, and go find things that people will actually want to see. I saw in the thread you mentioned that you weren't trying to tell stories, you just wanted to place stuff pleasingly in the frame, but it doesn't really work that way. Your viewer isn't seeing what you want them to see, they're seeing what THEY want to see, and when you shoot in a documentary style, your viewer is going to want to see something documented. If you want shapes in pleasant places, you have to get your viewer into that mindset by removing other elements like details, and particularly people. I hate to say this, but if you want a good example of pleasant composition for the sake of pleasant composition, go look at the alphon thread.
Your stuff from the woods is even worse, really. It's obvious that you felt good out there, and were trying to capture the nice feelings of being out in the woods, but you were completely unsure as to how to achieve that visually, so you are left with a bunch of poorly exposed leaves, with no variance in color, light, texture, etc. There's just nothing to see at all. You looked in a random direction, and thought "Well, how do I frame this shot to make it look like there was someone at the wheel" but you're backing into photos the wrong way. You find an interesting subject FIRST, and THEN you decide to take a photo, not the other way around.
>>2748599
>I don't like images to be too bright because they lose saturation of color and "heaviness" in the image.
What you're describing is a quality of light, which isn't affected by your camera's exposure. You can't just under-expose a boring scene and suddenly it's moody and heavy. That isn't coming across at all. In order to have a moody heavy feeling, the lighting on the scene has to support it, and in these, it does not.
More stuff coming
I got a new lens - 70- 300mm 4-5.6G
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More stuff
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NYC mail box
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Bicycles along a fence
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Old man with a cane
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Building the city
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Walking in the light
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New Yorkers
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Students
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locked bike
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apartment
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Snapshit: The thread
>>2746181
Looks like you walked around the city and took pictures.
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Isn't it called street photography? Shitty critiques and comments..
How you can make the city look so bland is beyond me, pictures are just snaps, view as many youtube tutorials as you can and try again, you got alot of theory to learn, also most of them are underexposed by a margin
>>2750267
I am going to look for other opinions to see what you are saying is valid. I just cannot see what is the issue. And the pictures have been subject to exposure enough that I don't want more exposure. It's a careful balancing act.
>>2750266
what?
>>2750271
You're taking a lot of pictures of simple things: people walking, bikes locked to a bike rack, a mail box... etc. Why? What do you see in them?
>>2750335
I see lots of movement, energy, money, poverty, and busy-ness (or business) of city life. Lots of colors and shapes
You're kind of 'doing it wrong' at the moment but I'm guessing you've not got a lot of experience so don't worry.
You say
"movement, energy, money, poverty, and busy-ness"
but none of this comes across. If you want to show money you've got to really SHOW money. Find a subject who to you is saying something about money and get in there and take a photo.
None of the images are showing movement other than walking. Someone walking doesn't' necessary scream 'movement'. If I wanted to show movement I think I would do something like find a really busy moment and get in the thick of it somehow I don't know. maybe then a shot would show the energy/movement. Corners and places where human traffic back up might be good. use a wide angle and get close maybe
>>2750247
Theres nothing really here is there?
>>2750256
students you say but is there something inherently interesting about students? why these students? what are you saying about the backs of these students?
>>2750254
You're getting it more right here. You've got a subject and at a basic level you're showing what they're doing. It's just they're not doing anything so nothings being said. I would use this image as a starting point of what you're getting right.
look at a lot of good street photography and see what they're doing that you aren't.
I would start with early Joel Meyerowitz. He's not always big on moments. You can see the way he looks at a scene and learn from it. He picks out details. He also talks very well about photography.
