I like that you don't have to think about anything in the creative wave of street photography. If I shoot a street with a reportage bias, then the frame should still be aesthetically pleasing with the possibility of publication in any resources.
A reportage street does not imply harsh shadows, piles of details and complex compositions.
In ordinary street photography, I disconnect from everything and just enjoy the process.
The process of creating a frame can be either instantaneous or take some time.
It happens that I find an interesting location with shadows, and I wait for a person to appear in the frame.
It happens, and I don't wait when there's no one around.
Most of the time, I'm lucky: a person appears in the right place a minute later, like a gift from the universe.
I found the set, it remains to find the actor in it.
In fact, this is another parallel world.
When I connect to this frequency, I pay attention to completely different scenes.
And all the actors appear in all the sets as per the script.
On other frequencies, the rules of the game are completely different.
I wonder if these different worlds are needed, or if it is necessary to come to a single frequency in which everything will be at once?
On the one hand, I like all these switches, but on the other hand, there are nuances.
I've said many times that when I'm actively connected to something, I don't see anything else.
I'm not interested in the landscape on the wave of the street. I'm not interested in spots on the wave of a landscape or a reportage.
At one time, I even became very disconnected from the night spaces with the dug-out cellars and did not feel anything at all among them.
But sometimes the urban environment gets boring so much that you want photos without people.
Is there a frequency where I see the same thing all at once? It seems to me that it should be!
I will definitely find her and connect to her.
I can already feel something like this on the newsreading wave, where there is a landscape, street and even night photography.
The only thing that bothers me is that I also feel the dugouts and night spaces on the reporting wave, but somehow a little differently.
It's as if the approach to shooting and seeing the picture is completely different....But at least he's there.
I need to combine all the frequencies into one somehow...or maybe you don't need to.
I'm still thinking about it.
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