When I was younger, I was inspired by a lot of the street photography that I saw where people were taking photos of others without their consent. As I've aged, I tend to find that kind-of-thing boring, condescending and rarely 'artful.' That's basically the case here, too. Still, the scene (a not terribly uncommon one in central Tokyo) struck me as odd - people out drinking, missing the last train and then deciding to sleep on the street (in very busy areas) rather than get a hotel room or take a taxi home (at least at that time, taxis were very expensive for anything other than a short trip). I guess this issue rarely plays out in the US like this...you'd just sleep in your car...or call a friend to pick you up...or.... You'd rarely trust the general public to leave you unmolested while you sleep in a very high-traffic area.
At any rate, these guys were still soundly passed out at noon in Kabukicho. As workers were cleaning the plaza, trying to rouse them, they didn't budge an inch. I'm sure the hangover was exquisite.
_jim_ wrote:
When I was younger, I was inspired by a lot of the street photography that I saw where people were taking photos of others without their consent. As I've aged, I tend to find that kind-of-thing boring, condescending and rarely 'artful.' That's basically the case here, too. Still, the scene (a not terribly uncommon one in central Tokyo) struck me as odd - people out drinking, missing the last train and then deciding to sleep on the street (in very busy areas) rather than get a hotel room or take a taxi home (at least at that time, taxis were very expensive for anything other than a short trip). I guess this issue rarely plays out in the US like this...you'd just sleep in your car...or call a friend to pick you up...or.... You'd rarely trust the general public to leave you unmolested while you sleep in a very high-traffic area.
At any rate, these guys were still soundly passed out at noon in Kabukicho. As workers were cleaning the plaza, trying to rouse them, they didn't budge an inch. I'm sure the hangover was exquisite.
*******As I've aged, I tend to find that kind-of-thing boring ***********
So you are not taking that kind of the photos?
**********where people were taking photos of others without their consent ********
I'm currently at this stage especially when I see some strange moves/ppl , but I never wanted to photograph homeless ppl.
*******As I've aged, I tend to find that kind-of-thing boring ***********
So you are not taking that kind of the photos?
**********where people were taking photos of others without their consent ********
I'm currently at this stage especially when I see some strange moves/ppl , but I never wanted to photograph homeless ppl.
Good question. If I don't have a person's consent, I usually try to avoid a situation where I feel like I am punching down. There are other people out there that are far more skilled than me that can try to tip-toe the line between raising awareness and exploitation.
I guess, how do we want to approach the world? Ideally with tenderness and warmth. As I've gotten older, I feel like I have tried to become more understanding and open-minded...I don't always succeed, but that's what I am trying for.
Good question. If I don't have a person's consent, I usually try to avoid a situation where I feel like I am punching down. There are other people out there that are far more skilled than me that can try to tip-toe the line between raising awareness and exploitation.
I guess, how do we want to approach the world? Ideally with tenderness and warmth. As I've gotten older, I feel like I have tried to become more understanding and open-minded...I don't always succeed, but that's what I am trying for.
Maybe because I'm not from "big crowd city" like NYC , Tokyo , HongKong etc. When I see those strange moves/ppl I always want to take a photo / document the scene at the moment.
My dream is go to Tokyo and NYC for street photography.
Dream came true last year. Went to Tokyo but in an unfamiliar circumstance I didn't know how to start. I want to take photo of everything , and turned out most of my photos were those popular viewpoints.
I also feel that when you wait for eye contact you can get a feeling of approval (or definite lack thereof...when that happens) from subjects. Maybe that's just what I want to imagine because it fits my goal in the moment.
Sweet, Old Fella by Jim Fischer, on FlickrNikon FM3a, Nikkor 35mm f/1.4 ai-s, Fuji Neopan Presto 400, T-Max Developer.
@_jim_ I totally get what you are saying. With very very rare exceptions, I only take pics of strangers with their permission, or if taking a pic in no way belittles/embarrasses/invades their space/mocks them. Like at a skate park or other big public venue where everyone is taking pics.
The one exception I made was a pic of this homeless person in Sacramento. His dog is his only friend/companion and he slept in this position with hand on dog to make sure no-one would steal it/it goes missing.
As one who loves dogs, I completely relate to this sentiment.
I took this through the dirty windshield of my Jeep, at about 50mph with one hand.
I have included a 100% crop. I don't see much (any?) image quality deterioation so it makes me wonder if we spend too much time fretting over filters on image quality if a thick, curved, dirty windshield has little effect.
And yes, all bets are off at night time with incoming light sources, or taking pics into the sun.
I have a full border mask for my 135 carrier but never use it. The Negative Supply Basic Carrier 120 would give me either the top or the bottom of the negative so I decided to try their full border 120 cassette. It works pretty well but I haven't been able to attach the hood.
Latest pinhole camera shots. Reality So Subtle 6x6F, Kentmere 100. The first one here is a double exposure with washi paper (I taped some paper to my office window and put the camera very close so the textured paper would cover the frame). I'll try this with colour film next.
Ok. Here's a fun one to ponder. The question: what the fudge is happening here? The setup - I used to live in Japan. At that time, Fuji Neopan 400 was between ¥250-300 for a roll of 36 exposures. It was silly cheap. And it was a good film (RIP). I shot a lot of it. At any rate, I was recently doing a bunch of re-scanning of old negatives and to my dismay, I discovered that many of my old Neopan 400 negatives are decaying in a bizarre way - small cracks and marks in the emulsion. None of the other brands of black and white film I shot from that time period show this defect (and I developed everything with the same chem/developer...T-Max). Not all of the Neopan is as bad as this example...some of it is on its way, some of it seems unaffected (so far), but a lot of it is...kinda ruined. So, what the fudge?
_jim_ wrote:
Ok. Here's a fun one to ponder. The question: what the fudge is happening here? The setup - I used to live in Japan. At that time, Fuji Neopan 400 was between ¥250-300 for a roll of 36 exposures. It was silly cheap. And it was a good film (RIP). I shot a lot of it. At any rate, I was recently doing a bunch of re-scanning of old negatives and to my dismay, I discovered that many of my old Neopan 400 negatives are decaying in a bizarre way - small cracks and marks in the emulsion. None of the other brands of black and white film I shot from that time period show this defect (and I developed everything with the same chem/developer...T-Max). Not all of the Neopan is as bad as this example...some of it is on its way, some of it seems unaffected (so far), but a lot of it is...kinda ruined. So, what the fudge?
If it was a problem with fixing, it would be blotches and staining. Could have been a bad production run or substandard coating. Maybe they didn't thing anyone was going to look at the negatives years later.
Contacted Negative Supply about not being able to use the hood with the full border cassette. It came down to some assembly (and disassembly) required. I needed the adapter plate from the standard cassette. The only way to get it was to take the cassette apart. Then take the full border cassette apart, add the adapter plate and assemble. Now the full border cassette has a hood and I asked NS if they could send me another plate.
Original Beaverton Honda Location, Holga 120N, Tri-X, Rodinal
Addendum: The adapter plate comes with the hood and is ment to be easily removable to transfer between cassettes. Mine was so firmly in place, no matter how much I tugged on it, it wouldn't move. Now I have learned the trick of how to remove it and it will be easy to switch between cassettes.
