Working wholly in colour, sticking mainly to 28mm and 35mm lens, Casper Macindoe pushes his practice each day hoping to at least take one good photo before he dies! If you would like to see his work you can also visit his Street Hunters Profile.
It has been my enormous pleasure and privilege to be part and parcel of Street Hunters. Not only has my own practice developed and grown beyond my wildest imaginings but I have had the chance to work with two guys who tirelessly give their all to bring you inspiration, information and ……….. Alas though, it’s time for me to retire from the fray and move my focus from photography to animation.
Channels of communication will of course remain open and should you wish to remain in contact then please by all means drop me a line on email@example.com . I hopefully won’t disappear into the ether like a Gandalf of the internet 🙂
Most especially in our G+, I have found the camaraderie between image makers a real surprise, and an honour to be part of and I’m sure the erudite critique, happy backslapping and overwhelming conviviality will very much be missed.
It was a complete pleasure for the Street Hunters team and guests to meet and chat with Rinzi Ruiz last Sunday evening in one of the bi-weekly hangouts.
Modest and totally committed, Rinzi was happy to share the what, where and how of his workflow and methods. From the start of his career, in the dark times of ‘layoffs’ Rinzi’s quiet immutable determination to improve himself and his skills neither shouts nor fire a flashes off in your face but rather walks, each step with a purpose. By breaking down how he works Rinzi gave insights into his planning, creation, and editing processes throughout the interview.
For this weeks special guest on the Street Hunters G+ Hangout ‘The Pub’ is Rinzi Ruiz. A prolific photographer from Los Angeles . Now producing only colour work from the streets ,Rinzi combines effortless minimalism with keenly observed street scenes, which when married create an unexpected stillness and serenity within the gaudy City of Angels.
Your invited to join us this Sunday 27th of July at
12:00 PDT – 14:00 CDT – 15:00 EDT – 20:00 BST – 21:00 CEST – 22:00 EEST
so you can meet and question one of the worlds most well known contemporary street photographers alive!
In the hangout last night a couple of technical glitches. So with that in mind I would like to apologise to our American cousins whom may have thought the Hangout started an hour later than it did in reality. The cause : British Summer Time which adds an hour and it appears this doesn’t get factored in when Google publishes the event time.
And as you will find at the end of the interview Khalik is cut off mid flow. The cause : My personal internet connection. As host all the bells and whistles emanated from my computer and as the World Cup final came to a close , either peeps turned on or off their computers and my internet dropped out closing the chat abruptly.
But I insist you watch on the YouTube channel because I for one have never been so inspired to put down my camera and leave it to the people with passion, insight, and dedication as Khalik Allah. Enjoy.
In the week’s ‘Special Guest’ slot at The Pub – the StreetHunters.net bi-weekly hangout, we are joined by one of the most distinctive Street Portraitist, whose images reveal in no uncertain terms the ravages of life and time in a head on collision of uncomfortable. Khalik Allah’s body of work demonstrates an unswerving eye, and a razor sharp vision coupled with a level of intimacy which delivers a kidney punch of reality drawing you in mesmerized and open mouthed.
Born in 1985, Khalik Allah is a multi-faceted director, filmmaker and photographer whose street photography is visually storytelling at its grittiest. Shot in vibrant color film with an aged, grainy quality, Khalik’s cinematic vignettes document hardscrabble life at the corner of 125th Street and Lexington Avenue in Harlem (New York City). His vision is like no other, with the bulk of his photographs captured in utter darkness relying solely on available light from neon signs, street lamps, and shop windows. When Khalik isn’t documenting Harlemites, he can be found making films and directing music videos. Khalik shoots a vintage Nikon F2 with a 55mm f1.2 lens. He’s also a member of Elephant Gun, a global, contemporary photography collective. See even more of Khalik’s work on tumblr. http://khalikallah.tumblr.com/.
American born photographer who characteristically photographs people close-up, using a wide angled lens and a flash, mostly in black and white. Cohen frequently crops heads from the frame, concentrating on small details. His images are uncomfortable, intrusive and raw forcing the audience into an intimacy with the subject well beyond personal space and yet the harsh flash or composition neither warm nor sensual. By pulling on details rather than meandering through well told full image stories , Mark Cohen’s images virtually shout at the viewer ‘LOOK, LOOK AT IT’ whatever that ‘IT’ is, they are unequivocal in their demands.
What we have in this image is a well spotted full person street portrait. A man amongst his belongings, within his own thoughts, relaxed , even down to the shoeless foot, the whole image is quite serene.
My first thought is ‘Colour!’ I’m certain the shop must have been crammed with brilliantly woven reds, yellows, blues, gold , greens, a floor to ceiling orgy of super brilliant colour. I suspect although can’t confirm or deny that the shopkeeper would have been wearing beige/brown or faded blue which would in my mind bring him to the fore even with the dazzling array around him.
As some of you may have picked up from earlier posts or comments in my other life I’ve been dragging myself through a 3d animation course for the past 2 years, and having just come out of it on the other side, Spyros wondered how animation, another arts/ creativity subject, could help and influence a street photographers work..
There is of course the immediate difference between moving images and still, but in animation each and every frame, each still will have been worked rigorously to be part of the overall moment and ensure the realistic presentation of a character or something moving. I mean every frame and each controller has been pushed tweaked , forced to comply with the terribly stringent rules of animation. Animation is endlessly time consuming, and even when it’s done…gah! I could have done more.
I have said before and I’m not sure why but beach images are always of interest. I think it might be the brazen openness of people, playing half undressed in the sun, both innocent and sophisticated at the same time.
If you’ve been watching Crit My Pic , you will have found I always enter an image after the initial moment through the composition and geometry of the image but for this one because of the emphasis already in play with thirds , thought it might be an idea of reading the image slightly differently.
This image submitted by Rich McPeek has been sitting in the vaults of Crit My Pic for a few weeks now, which has given me more opportunity to give it a good looking over. The image is simply described as an old man, slightly separated from the masses, deep in thought. I like there are lots of uprights throughout the picture as this emphasises the elderly bend of the man in his coat.
I think the reason I always begin with the composition of an image is because it can define the story, highlight the main point. I come from an animation background and one of the simple but essential rules is ‘it (the scene) must read clearly’ and in fact I think for animation ‘it must read unequivocally’. In this image I believe the intent is to show the ‘Thinker’ and with the main character in this scene being elderly we hope and trust he has thoughts more romantic than our own.