The infrared look gives the landscape a strange, almost lunar calm. The white trees become the real subject, sitting between that heavy black sky and the wide, flattened field. What I like most is the scale: the sky wants to dominate everything, but the small line of trees holds its ground. A quiet image, but not polite. Thankfully.

The repetition of the corrugated roof really carries the image. It almost crushes the wooden doors, which makes the whole scene feel heavier than a simple façade study. I like that it stays quiet: grey, worn, frontal, almost stubborn. The dark gap above the doors is the small break that keeps it from becoming just texture.

Thanks a lot, Bob. I’ll keep posting videos like this.

Thanks so much for taking the time to watch the video and comment on my work.

That day was really just an erratic photo walk with my dog. There was no planned route, and everything I came across was completely accidental. A bit like going hunting, but in a much more pacifist way.

As for getting close to people, I do feel comfortable shooting like that, although it’s certainly not the only kind of photography that interests me. So far, people haven’t taken it badly. In fact, I haven’t had a single moment where someone stopped me and asked for an explanation.

You’re right that using a compact, discreet camera definitely helps. But I also work in a similar way with my Leica M10 Monochrom, as long as I’m using small lenses, usually 21mm, 28mm or 35mm.

Anyway, I really appreciate the time you’ve spent looking at my work.

That makes sense. I usually like the foreground a little too present, but more separation or blur could stop it from becoming a wall. Useful point.

Thanks, that matches what I was testing: the guide and the painting as a shared subject, with the audience acting as a frame. I agree about the painting needing a little more headroom; the top edge feels tight.

Fair point. ‘Behind the crowd’ may be the problem here. I wanted the foreground blockage to pull the viewer into the audience, but if it reads more like a barrier, then the frame starts choking itself.

Thanks for taking the time to crop it. The portrait crop is cleaner, but I think it loses some of the pressure between the guide, the painting and the audience. The second crop gets closer to what I was trying to test: the guide sitting inside the crowd rather than being isolated from it.

Thanks, this is really useful. I was thinking of it less as a portrait and more as a street/museum scene where the guide, the painting and the audience all compete a bit. Your point about the crowd framing the guide without taking over is close to what I was hoping for. The flatter angle may be the real limitation here.

The backlight and silhouettes give the street a dense rhythm without needing to show too much detail.

The diagonal light does a lot here, cutting through the heavy concrete and keeping the frame from going flat

The leading lines and hard shadows give the empty walkway a strong, unforced rhythm.

This works because the beach stops feeling like leisure and starts looking like a machine: arms, rails, suspended bodies, and water all pulling in different directions. The tilt helps keep it unstable rather than picturesque. I’m not sure the right edge needs to be quite that heavy, but the backlit chaos gives the frame its bite.