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Su­perb fine art mono street pho­tog­ra­phy in New York City

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Vis­it­ing New York has al­ways been on my to-do list, and I’m glad I did it in win­ter time so I could catch some snow, some rain, and a bit of the that chaotic rush of life that can only be seen in New York. In my first photo all you can see is a pair of sil­hou­ettes [1]. Sil­hou­ettes in­trigue me, they keep me guess­ing; are they a ro­man­tic cou­ple, or per­haps old friends? Maybe they’re cold, or whis­per­ing to each other. It’s the un­known that ex­cites me.

My sec­ond im­age was taken in New York’s Chi­na­town [2]. Ev­ery­where I looked was al­lur­ing to the eyes – it was a real treat. There were so many ad­ver­tise­ments on the build­ings, so many peo­ple; the unique­ness of that place grabbed my at­ten­tion right away.

The third photo shows how peo­ple al­ways seem to be run­ning against time nowa­days [3]. Time is very

melan­cholic to me. This pic­ture rep­re­sents mo­ments that are now lost for­ever, the only thing left of the mo­ment is this frame.

Ev­ery­thing in New York hap­pens so fast and that is pre­cisely what makes this city so good for street pho­tog­ra­phers. It seems ev­ery lit­tle piece of it is a fine art por­trait. I be­lieve I man­aged to cap­ture the crazi­ness of what it’s like to live in a city like this.

When street pho­tog­ra­phy be­comes a rou­tine, it’s quite dif­fi­cult to break out and do some­thing dif­fer­ent. So I have to work hard to have my own per­sonal touch in ev­ery im­age I cap­ture. That is why I don’t plan that much – I’d rather feel the mo­ment and click.

I love to re­spond with what my eyes and heart feels in the mo­ment. I’m very happy with my im­ages, but I would change one thing. In my photo of Chi­na­town I’d like to re­visit the place at night; the light changes ev­ery­thing in a photo.

N-photo says

With­out a doubt our favourite photo from your port­fo­lio is the sil­hou­ettes in the rain in Times Square [1]. There’s a nat­u­ral vi­gnetting that oc­curs all around the edges of the frame, with the bot­tom dark­ened by long-thrown shad­ows. The bright lights shim­mer on the shiny stone floor and other sub­jects bus­tle in the back­drop like ex­tras in a movie.

It feels very dif­fer­ent to your shot in the Metro [3], where there are many bustling peo­ple, the move­ment of which is cap­tured with a longer

Ev­ery­thing in New York hap­pens so fast and that is pre­cisely what makes this city so good for street pho­tog­ra­phers. It seems ev­ery lit­tle piece of it is a fine art por­trait

ex­po­sure, blur­ring those walk­ing in front of the cam­era. The top of the frame is stepped with the stonework ceil­ing and pro­vides some vis­ual breath­ing space to an oth­er­wise very busy frame.

We agree with you, Fabi­olla, that it would be in­ter­est­ing to see your Chi­na­town im­age [2] taken at night. All those signs and street lights, in­clud­ing pass­ing cars, would make an ex­cel­lent shot if lit up with darker sur­round­ings. How­ever, you’ve done well to cap­ture a strong im­age dur­ing the day. You’ve filled the frame with your sub­ject to ac­cen­tu­ate the com­pli­cated ad­ver­tise­ments.

The di­ag­o­nal ap­proach you’ve taken, with the street run­ning from bot­tom-left to top-right, also al­lows you to com­pact the frame more than, say, shoot­ing trans­versely across the street. The lines also guide the viewer’s eye through the im­age much more eas­ily this way.

Sil­hou­ettes in­trigue me, they keep me guess­ing; are they a ro­man­tic cou­ple, or per­haps old friends? Maybe they’re cold, or whis­per­ing

1

21Times SquareNikon D90, 50mm f/1.8, 1/125 sec, f/2.8, ISO2002Chi­na­town Nikon D90, 70300mm f/4.5-5.6, 1/500 sec, f/5.6, ISO200

3 Metro Nikon D90, 50mm f/1.8, 1/30 sec, f/2.8, ISO200 3

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