chrislee
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edwardkaraa wrote:
Chris, my advice is to talk to people. Once the ice is broken it's easier to ask for a photo. Shooting without permission is only possible in areas where photographers are commonly present so people tend to be more tolerant.
In my above set, the first shot was after striking a conversation, the following two without permission but I was hanging around long enough taking photos so the guys didn't mind and were actually amused. One of them even asked me why I took photos of his friends but not of him. He felt neglected 
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I'm trying this Edward, last night for instance, after I helped push someone's car out. I asked at the end which they gladly said yes. I took two pics quickly 'so I didn't take up their time', in other words, I rushed myself and the pics aren't that good. I'm sure if I keep it up I'll become more comfortable.
Mitch Alland wrote:
Edward - I like these and am glad to see the engagement with the subjects. Also, my feeling is that the wider 25mm focal length is giving you more DOF, which is usually preferable for this type of subject — but not always, there are no rules.
BTW, generally I don't like to ask for permission or start speaking before I make a picture because it affects the behavior of the subject and changes the whole dynamic — i.e., the Heisenberg Uncertainty Principle. But, sometimes I do, particularly when making a street portrait after a long conversation.
I agree Mitch. great use of the 25mm Edward. As well as your not wanting to ask, definitely want to get there. But I do enjoy talking and meeting new people.
rscheffler wrote:
Edward - great continuation of the series! I feel like I'm right in the middle of the action. The nearness due to using the 25/2.8 is more immersive.
Chris, in a big city like Chicago, just go downtown where there are other tourists and start shooting. You won't feel so out of place. Hang out by the 'silver bean' for a while.  Sure, the area's been shot a ton, who cares! But I guess it depend on what you want in terms of photos.
I know what you mean about shooting in a suburban area... people tend to be suspicious of your motives and the act of photography is very obviously out of the norm. In any case, I have a soft rule of not shooting too much in my immediate neighbourhood because in part I don't really want people around me to know I have anything out of the ordinary in terms of cameras, etc. It's not that it's a bad neighbourhood. In fact the opposite, but I'd just rather remain somewhat anonymous in terms of my interests/profession. Anyway, that's me...
I'll post some shots from the day eventually... I did the selections, and there's a ton to whittle down and process. Because it was so windy, and it was well below zero, I knew there was a great chance for some good snow drifts out on the frozen marsh nearby, and there certainly were. I simply ran out of daylight. In these kinds of situations, I can easily lose track of time, which my GF hates, because normally if she's along, it means a lot of standing around in the cold. But it was just me, so I could indulge. Whether I got anything great is to be decided, but I enjoy the chances to get out and do mental exercises in seeing what compositions I can pull out of the area around me....Show more →
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Fantastic Ron, I'm with Adam, the last one's really good. Love the abstract painting like feeling to them. They remind me of the work of Mark Rothco: http://pixgood.com/mark-rothko-blue.html
Thanks for the shooting advice too Ron. Shooting in the city makes perfect sense as I'll never feel comfortable doing close up work around my house. I too should be careful in this regard as I live in a young urban and transitory area.
I've been to the bean several times with visitors, during the summer which is crazy. I need to go back by myself, and approach it from a totally different goal: to focus on people, a moment, an emotion primarily. Play of light, shadow, texture, patterns are other topics I'd like to be proficient.
adamdewilde wrote:
Try walking around looking for architecture details and quirks. Stop, compose and shoot a few frames. Then just wait for someone to walk by and shoot a few more to see what you get. At the very least, it seems as if they're getting in your way.. Makes it their fault, not yours..
I like that!! And more my style too This could be used quite a bit for now. I can find a shot I want, shoot/compose while waiting for the right moment for the real shot.
Great suggestions everyone, Thanks.
Chris
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I will get there no doubt, glad to hear I'm not the only one skimping to buy one. Been doing this though since my teens when I saved to buy a used Canon F-1, prob. the best slr I used. I wish now I had saved a bit more then...ah, hind site. Good luck getting a new Monochrom, I'd be excited as heck 
