I agree and disagree with what you said about tools dictating the shoots. I agree because I'm in a university with certain students who are through and through practicing photojournalists and they respect the way photography works more than I do. I'm criticised often for shooting portraits in landscape format for example and I'm told I shouldn't do it.
Well, my view is you should do what works for the shot. I'm not one to color by numbers -- if it works, it works.
I'm also told I should shoot MF or LF if the subject is stationary but that's something else.
I've yet to experiment with LF, but I do enjoy the MF process. Shooting with an older camera is actually one of the things that made me consider the M8; handheld light meter, setting everything manually - it makes me much more selective when shooting-- when I'm working on film I want to make damned sure that my exposure has at least the potential to be something I want to hold on to.
With the Leica however, there was an expectation there which I had for your photography with certain types of shots before I clicked the link, generally with such an expensive machine you're going to want to make money with it, not play with it. But you've stated you have had it for a short time and that explains a lot now. Still I can't help my curiosity especially with the money involved.
I'm not a professional photographer, nor do I have a desire to become one. I shoot for myself -- a creative outlet which is very important to my mental well-being.
It *is* a lot of cash -- I did get it at a discount compared to MSRP -- professionally, I work as a web content writer for a photo retailer... it has its benefits.
With regard to your portfolio, I like the way you're going with the black and white, my only comment is that you're not close enough with the people shots, they are not interesting where you're positioning yourself now. I also notice the repetition of lines in the first 7 images (page 2), the last one seems like the odd one out due to the lack of lines. So anyway, you need some tilt in your images (serious photographers joke there
), don't confine yourself to the symmetry and lines you've presented in your portfolio so much either.
I think it's clear from my work that people are not my strongpoint. When I do shoot them, I try to convey some sense of isolation -- evident in Swilling Toads (the subjects are at the far left of the frame, engaged with each other, but almost pushed out of the composition by the otherwise empty diner counter), and the same with Laundromat -- a lone figure, watching his clothes go round and round, on the far side of the frame.
Of course, I say the above *now* -- when I was getting those shots, it wasn't conscious in my mind. Personally I was more interested in the setting each time, the people there simply acted as ways to frame the image.
The last black and white shot you mention is of my favorite street vendor in Manhattan. I hope to replace that in the future with a better shot. He's got a great face, and is almost always in full camo gear. Usually at the corner of 34th and 8th if you find yourself in NYC during the day.
I know you probably weren't looking for a critic but I've done it now. What have you done with your portfolio so far?
I'm always open to critique, I appreciate someone who takes the time to actually *look* at my work. Which I guess is what I've done with the portfolio so far... put it out there for comment. As I said before, I've no aspirations to go pro. I do plan on doing an revision to the portfolio in the very near future -- there are some shots that I'm going to prune and replace with stronger ones.
Btw, some of the colours on page 3 and 4 are amazing. Some that stick out are 42 and Mantis just because of the depth of field employed.
The Mantis & 42 were both taken with the same lens, interesting that you would pick them out... actually the only shots in the whole thing captured with it -- the Pentax FA 77mm. I generally work much shorter than that, but it's nice to go a bit long on the focal length occasionally (again, shooting with longer focal lengths -- one of my weaknesses).
Almost everything on page 3&4 are digital.. the exceptions are Oncoming Train (Kodak negative film... something 160 speed, I think a Vivid Color type, I didn't note it down) and Ruins/Commmodore Criterion (Provia 400)
Again, thank you so much for taking the time and effort to offer a critique. I realize it's a bit OT compared to the original intent of the thread, but I hope it's offered some insight. As I get more used to shooting with the M8, I'd be very happy to field any questions... part of my lives for "talking shop" when it comes to photography.
Jim
