I’ve recently had a lot of time on my hands to dedicate to street photography. I’ve taken on more hours this month at my retail job while the owner is away on holiday, which means I have had less time for commercial clients. Aside from a model this Sunday, and a meetup with UK Shooters on the 20th I don’t have any photography work booked in.I know I wrote about some street photography in Camden not that long ago, but given its proximity to where I live, and the lovely weather I thought it was worth having another walk through, and also a short trip up Primrose Hill for some (reasonably) fresh air.The last time I went out and photographed around The Stables there were a few scenes that caught my eye that were difficult with only my 90. This time I left the house with my standard setup, and in my opinion the results were great!
This shot from Camden Road, a very vibrant wedding-house. Hope they were having a great day – hope their expensive photographer got a better shot of the archway than I did!
I’m really enjoying the 21/50/90mm configuration in everyday use. I am concentrating on framing with the 90, as this is the most difficult for me to see in the M240 viewfinder. Focusing is notoriously difficult, but when you nail the shot it really pays off. You get that sense of voyeuristic atmosphere found in a lot of classic photojournalism when the Life and National Geographic photographers stuck to their Nikon’s, with 100mm+ and Kodachrome.90mm gives me enough distance that I remain separate from whatever scene I am photographing, but still requires enough consideration that I cannot simply point and shoot – again, the framing and high focusing tolerances make it a very tricky lens to master; I much prefer using it on my A7Rii, as I did in the studio for Toni & Guy.
90mm also leaves enough room for me to frame much narrower or taller than I usually would, and I’ve been playing around with a vertical cinematic aspect ratio.
I’m using 21mm far more often than I thought I would be when I first bought it. It’s a great focal length, and I’m finding the “look” especially from my Zeiss to be very film like and nostalgic – I think this has to do with the way the focus renders, in quite an imperfect way. I am enjoying using it for close up photographs of plants, and may possibly collate a few into a series.
My go-to portrait is still 50mm, of which I own Zeiss, Leica, and an assortment of Russian clones – all for different effects and feels.50mm gives me the best experience in personalising my subject, and it is the easiest for me to frame with, given my glasses.I really like this portrait angle from over-the-top, I find it quite flattering, and atmospheric. This girl was a film student I met sketching the marketplace round the corner by Cyberdog. We chatted for a minute as I took these portraits. I kept the ones with her laughing, as sometimes people tell me my subjects always seem gloomy.
There were a few scenes with great streams of sunlight that I really enjoyed photographing. I managed to get one shot that I especially like – my contact sheet for that is here.
There are so many corners around the market, I really want to revisit Cafe Loren especially, to work on a photograph in layers, with a subject in the foreground at the table, with some kind of activity in the background. It will take a while, the one I managed was difficult enough with the number of tourists I had to out-wait.