Some pretty good images. Like the music, it fits very well.
Looks like a lot of shoot from the hip stuff, I wonder if he was kneeling down a lot, has a right angle viewer or just shot blind.
Now to the train. Isn't it strange how they are all the same. The architecture of the rolling stock, and the variation in station design, the weight of the clothes all change, but the people, they all look like that, be it on BART, the NY Subway, DC's Metro, The Tube, London's DLR, Glasgows Clockwork Orange.
There is something more intimate about an underground system. The close packedness comes on any efficient commute system, but being underground forces everyone into the car, you can't gaze dreamily out the window, without looking back into the car. Platforms are only a few feet deep, and you have to pass close to people. Stairs and escalators off peak place you eye level with someones butt, not just for the height of a bridge, but from hundreds of feet below the towering city above.
Of course getting on a modern system, such as the Heathrow Express, with it's bombardment of video screens leaves your ears hearing a phantom voice intone "Denhams dentifrice".
I'll bet anything he shoots blind, at those low angles. With a wideangle, it's easy. In fact I find that with a 24mm or a 28mm, it's almost impossible to make a poor composition.
2 comments:
Some pretty good images. Like the music, it fits very well.
Looks like a lot of shoot from the hip stuff, I wonder if he was kneeling down a lot, has a right angle viewer or just shot blind.
Now to the train. Isn't it strange how they are all the same. The architecture of the rolling stock, and the variation in station design, the weight of the clothes all change, but the people, they all look like that, be it on BART, the NY Subway, DC's Metro, The Tube, London's DLR, Glasgows Clockwork Orange.
There is something more intimate about an underground system. The close packedness comes on any efficient commute system, but being underground forces everyone into the car, you can't gaze dreamily out the window, without looking back into the car. Platforms are only a few feet deep, and you have to pass close to people. Stairs and escalators off peak place you eye level with someones butt, not just for the height of a bridge, but from hundreds of feet below the towering city above.
Of course getting on a modern system, such as the Heathrow Express, with it's bombardment of video screens leaves your ears hearing a phantom voice intone "Denhams dentifrice".
I'll bet anything he shoots blind, at those low angles. With a wideangle, it's easy. In fact I find that with a 24mm or a 28mm, it's almost impossible to make a poor composition.
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