Photo Essay: The Commuters

seastack

These are all from this past week as I continue to work on a personal project on Washington State ferries. These images are a subset of my broader work and focus just on commuters ... certainly better to ride a ferry across Puget Sound to and from work than be stuck in traffic, and yet, people don't seem any happier about going to work this way, maybe less stressed but "work" is "work" I suppose. How can you sit there and ignore that moon rise! We all seem so ... tired.

So one thing that will ruin a good photo essay is too many pictures, or a weak one (or more). There are too many here I think, I know. A tight sequence of a few very good shots is best and even though you may worry about what you left out, the viewer won't know .... A couple good things to remember ... "people will always remember you for your weakest photo" and "leave them wanting more."

Would you cut any of these from this sequence, which ones? And of course, C & C is always most appreciated.

cheers,
tom



The Commuters




#2



#3



#4



#5



#6



#7



#8



#9



#10



#11



#12



#13



#14



#15



#16

LCD

It's hard to address individual photos because they are not numbered and I do not want to go back and scroll thru and count over and over again.

But in general I really like them. There are some shots with spots of light that you have used really well. There are some shots that are tilted and I think should be straightened because the tilt distracts from the other interesting elements. There are a couple I would take out - not because they are not good, but because I do not feel they are as strong for your theme.

If you number them, I will give more specific feedback - for what it's worth.

Really nice series!!

Lisa

eoren1

Very nice series. That moon rise is unreal!
This has to be my favorite though:


E

JimW

Tom,

First, aren’t projects great? I love working on photo projects, as opposed to just shooting to shoot, then later deciding whether to make a print. A project tends to help me narrow the decisions into a coherent package. The prints then turn out more focused, and in the end, the message is more clear. If you happen to read Lenswork, there are some thoughts on this in the Feb 07 issue.

I like your concept of a project on commuters. It’s interesting, real and it tells a story. I live in NYC and have often thought that “the commute” was like a symphony, all those people missing each other by an inch, all moving, all defining time as we think of it.

I thought 6 and 16 were the weakest, and I thought 12 was too dark. But that’s just me, today. Another thing I noticed was that the longer I looked at them, the more I liked them. These are busy images. They take time to absorb.

Thanks for sharing and good luck with the project.

Jim

seastack

LCD wrote:

It's hard to address individual photos because they are not numbered and I do not want to go back and scroll thru and count over and over again.

Sorry about that ... how annoying. All fixed. )

seastack

JimW wrote:

I thought 6 and 16 were the weakest, and I thought 12 was too dark. But that’s just me, today. Another thing I noticed was that the longer I looked at them, the more I liked them. These are busy images. They take time to absorb.

Thanks ) Yep, busy, been looking at too much Alex Webb lately ;-) ... some of these are also studies in layering and use of "bad light." It's surprising difficult, Webb and others make it look easy. Thanks again )

seastack

Cool )

eoren1 wrote:

Very nice series. That moon rise is unreal!
This has to be my favorite though:


E

tsk1979

Hmm so the LPS shot is from this series!
Good work
That one is my favorite

JimW

... some of these are also studies in layering.

Hmmm, interesting. Do you mean in-camera layering, as in including reflections and seemingly out of place patches and lots of black areas to provide depth? Or layering in post processing? Are you talking about #13-14-15, at least? I'm interested in your comments, and am listening if you feel like talking.

Awais Yaqub

Cool stuff

schmoo

Tom, absolutely amazing.

I have a lot to learn from you, not only in staying true to a theme but also in composition and capturing people. I am impressed also in your technical ability and PP, sure, but the true strength I see consistent in your photos is how you use the light to illustrate your story. Sometimes it's in layers as in the reflection of the man on the phone, sometimes it's highlighting only one or two small parts of a bigger image as in many of your photos abroad from your workshop.

I know in my heart that light is the key to photography. But to see it used in such a masterful way is a lesson that I have to push to keep remembering.

seastack

JimW wrote:

Hmmm, interesting. Do you mean in-camera layering, as in including reflections and seemingly out of place patches and lots of black areas to provide depth? Or layering in post processing? Are you talking about #13-14-15, at least? I'm interested in your comments, and am listening if you feel like talking.

Exactly, en camera layering, juxtaposition of elements to add depth, tension, mystery, meaning ... not necessarily lots of black areas but that's what I end up with here with the light ... and/or using "bad" light to slice out elements, and layer, like #7 ... the face that's partially hidden adds tension. While some people may not like the photo with the partial face of the man, I like it because of that and the slices of people ... half a face (different halves, one man, one woman), an ear, eyeglasses, silhouette combined in a mix .... it's also a way to simplify a complicated scene.

A few classic Alex Webb photos that break the rules here, here and here.
And David Alan Harvey photos here, here, here and here. I mean, who can stick a pole in the center of a photograph and pull off something brilliant ... well these guys, two of my favorites, and both considered masters of layering and adding depth ... and both considered photographer's photographers. Harvey in particular can work well with difficult lighting and use it to his advantage. Not all their photos are like these but you can certainly see their style and thinking in them. There is a lot going on in these images and they still work, very difficult. I can see them moving a quarter-of-an-inch this way or that to get the composition just right and waiting for just the right moment, on the street, in a fluid scene ... amazing really.

seastack

schmoo wrote:

Sometimes it's in layers as in the reflection of the man on the phone, sometimes it's highlighting only one or two small parts of a bigger image as in many of your photos abroad from your workshop.

Hey cool, you get it )
Not everyone likes or gets "street" photography but I think once you start to see the complexity it grows on you.

One of my favorite David Alan Harvey shots here ... three dimensional thirds, and more, combined with action, tension and multiple decisive moments. It's both simple and complex, and dogs never hurt ;-) Saw a large print of this recently and I couldn't stop looking.

beetle8

I don't like 6&7 #11 looks like a snapshot #13 is by far my favorite while #14 being of the same spirit is not apealing to me, Overall the series was very enjoyable to view. #1 would be a close second

JimW

<<< in a fluid scene ... amazing really >>>

It is amazing, as it must take such a commitment to that style. Looking at those linked photos was a treat. Thanks. I like to let them seep in. I’ve always thought of those kinds of photos as being difficult to plan, as you said. You probably just have to think quickly and react, after having waited for the light, and with no guarantee of success. Exhilarating when it works though, right?

<<< ... an ear, eyeglasses, silhouette combined in a mix .... it's also a way to simplify a complicated scene.>>>

The photographer Ralph Gibson used to talk about that same thing as a process of eliminating the unnecessary to simplify and enhance the message.


<<< ...not necessarily lots of black areas but that's what I end up with here ... >>>

May I ask if you work with a final print (on paper) in mind, or do you just work, and make that decision later?

Thanks for explaining. I understand your style better now, and I do think your photos have depth, tension and mystery. #15 is a great example of that.

Jim

seastack

JimW wrote:

I’ve always thought of those kinds of photos as being difficult to plan, as you said. You probably just have to think quickly and react, after having waited for the light, and with no guarantee of success. Exhilarating when it works though, right?

Right, there are different ways to work ... lots of walking but if I find a good place with interesting light, I wait. #7 is a good example, it's one of about 20 I took from this location as people walked off the ferry. I'll watch how light plays across people as they walk through the space and try to time it just right ... it's a play, you have to wait for the players to hit their marks on the stage and you're not sure what's coming. Often they don't but when they do, it's magic. On the other end of things, I will also interact with people, shoot the bull, get to know them, get really close, then start taking pictures if they don't mind ... but you don't see any of those here. But either way it's still a collaboration.

JimW wrote:

May I ask if you work with a final print (on paper) in mind, or do you just work, and make that decision later?

I'm not sure I understand. Well, now that I think about it ... I do work with the final image in mind. Light and how it will end up in the final image is often not obvious when on scene but I'm getting better at translating what my eye sees to what the camera sees and how it will look in print, and what exposure will give what result. There is only one high key shot in this mix (#1) while the rest are metered for the top of the highlights, not the shadow and not an average ... i find myself throwing out average more and more. For many of these I probably spot metered off my hand in the sunlight, usually underexposured a hair more, and set in manual. The raw images are then pushed a little and contrast increased in post processing.[/quote]

JimW wrote:

Thanks for explaining. I understand your style better now, and I do think your photos have depth, tension and mystery. #15 is a great example of that.

Thanks, I feel like I'm just starting to get there ... it's challenging because it's more about what's in your head than technical )

Wet Oregon

The Commuters
Tom: Tremendous series; if you were to submit same for publication--either in Seattle area or elsewhere have you been collecting "releases" as well as story telling photos?

I enjoyed the Space needle reflection and the moon comming up in the direction of Mt. Rainier and #1

Wet Oregon

anwmn1

Tom-

These are some really strong images with lots of depth and feeling.

For me the 5th and 6th are the weakest of the group. The effect of the lighting on the faces is surreal almost cartoonish- don't feel they really fit with the others as far as depth, emotion, and overall flow.

I always loved your landscape shots from the North West and now am inspired even more.

Great stuff and look forward to seeing your finished project.

seastack

Wet Oregon wrote:

Tom: Tremendous series; if you were to submit same for publication--either in Seattle area or elsewhere have you been collecting "releases" as well as story telling photos?

I enjoyed the Space needle reflection and the moon comming up in the direction of Mt. Rainier and #1

Wet Oregon

No, I usually don't get model releases and it's not always necessary for editorial or fine art work if it's shot in a public space with no expectation of privacy. Often mags will tell everyone they require a model release as a blanket rule but if they really like an image they will look at the situation in which it was shot (i've published in just a few mags, sure others could speak to that with more expertise). Still, it depends on the publication, it's their risk and it's true that for covers especially, some mags require a release since they often use the covers in their own marketing (gray area).

I really, really hate asking for releases ... seems so tacky and exploitive. It just blows the whole situation, or just isn't possible, unless it's a commercial shoot or a long-term project with the same people, or in someone's home or you are physically on other such private property ... or in France (from what i understand). That said, I do carry both model and property releases with me.

seastack

anwmn1 wrote:

For me the 5th and 6th are the weakest of the group. The effect of the lighting on the faces is surreal almost cartoonish- don't feel they really fit with the others as far as depth, emotion, and overall flow.

I always loved your landscape shots from the North West and now am inspired even more.

Great stuff and look forward to seeing your finished project.

Thanks for your critique, most helpful, and I agree )
Landscapes? What are those? ;-)

LiquidAir

Nice series. Viewing the in the context of the title (rather than as individual shots), my favorite is #15 for beautifully telling a story.

Not that you need to drop anything from the set but if you are looking to tighten up the series here's what I'd consider dropping and why:

#6: A very nice portrait, but the story isn't as strong here and the right hand of the frame is somewhat amorphous.

#11: I don't think you need two shots of the coast guard boat, and the kids feel a bit out of place in a series titled "the commuters"

#12: This shot feels a bit redundant sitting beside #13. #13 covers the same story and so much more.

#14: This one is tough; the window reflection technique feels a bit overused in the series, but they are all great shots. I picked #14 because, to me, the needle is such a strong icon that it makes #14 is more about the city than than the people.

seastack

LiquidAir wrote:

Not that you need to drop anything from the set but if you are looking to tighten up the series here's what I'd consider dropping and why ....

Excellent, excellent points all. #15 is one of my favorites, too, although considering cropping it in a bit tighter.

Yeah i see your point on #12 ... but it's got this kind of going to Oz feel to it, still torn on this one so i'll leave it one the table for now ...

Agree on too many reflection shots and other comments (not that we have to agree, just do). Thanks again for critique, very helpful! )

Ann McRae

I really admire your project and these photos. They are so full of details and could/should take much longer to really appreciate. For now, the ones I particularly like are, and find particularly evocative of your theme are:

#8,13,15

Looking forward to more

ann

LiquidAir

seastack wrote:

Yeah i see your point on #12 ... but it's got this kind of going to Oz feel to it, still torn on this one so i'll leave it one the table for now ...

The emerald city, yes I see it.

Hmmm. One thing I would try with that shot is to push the water mabye a half stop brighter to give the bottom side of the window frames a bit more definition. On the contrasty LCD I have at work, the bottom of the window frames gets completely lost.