Here's a shot where I just didn't get close enough.

As I was walking towards this guy I saw the picture I wanted in my head. Crouched down beside fin so he filled the frame about two thirds.
He was just sitting in this pocket of shade perfectly and I wanted to see what I could do with the extra shadow cast by his hat.

Alas. I admit at this point I was exhausted, I'd already been walking about 8 hours and for the last hour I'd hit a residential area which had provided little fruit or visual interest to me and my momentum was low.

It takes a considerable amount of concentration and a bit of je ne sais quoi to get close enough to people to count their nose hairs without them clocking you. The only other thing which comes to mind right now is a pick pocket but, let's stick to the noise hairs for now.

Feeling tired and not very light in my feet, I didn't think I could get into stealth mode, and I pictured the interaction where I touched down next to him, brought my camera to my eye and he turned and asked what the f#&$ I was doing, and me not having the energy to even articulate anything intelligible, and so disappointed in myself, I took this picture, a kind of wonderful momento to my failure in that moment 😅

Don't cry for me, it's not that deep, but it is a reminder for me that you can't always get the shot you want, there are times to just be gracious with yourself, remember what you wanted to go for, and get it the next time. This probably won't be the last guy sitting at a table in shade on a sunny day I ever see. So I think we'll be alright.

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Here's another image which 'technically' I missed. The sunlight was incredibly intense, and because New York is on a grid, I was either in blistering sun, or complete shadow which made visibility through my viewfinder incredibly challenging & often made it very tricky to see my point of focus. if I'm honest I don't think this is a struggle I ever really got used to.

Now I'm no stranger to challenging focus wide open at 0.95, but not stopped down at f8 or 5.6.
It may be time to find yet another eyecup to try to mitigate this problem a bit, but these Fuji eyecups are garbage and insist on breaking on me. If anyone has any that have stood the test of time, please, I beg thee, let me know the make and model.

I really like this image, and I do so in a way that I'm sure would not be improved by sharper focus, I think this feels painterly and kind of impressionist in a way that makes it more appealing. When I look at this image, my brain fills in all the missing information. In my periphery, I see all the crisps light detail highlighting the individual leaves on the tree, detail in the building that's cast in shadow, interesting shapes in the window the hard lines of the shadow cutting across the white facade of the illuminated building and, as soon as I look away they go, it was all in my mind. But I like that, this picture does what it needs to, it gives me what I want despite the fact that those details aren't actually there. To me that twist of perception is more interesting than if it had just been perfectly focused and perfectly exposed. How do you find this photo? In very interested to know if you also experience this magic eye effect, or is it just me and my brain?

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Here's an example of listening to your photos.
As I was coming down the stairs I saw this train carriage and wanted to get a picture of the crowded car.
As I got to the platform and composed my shot this passenger walked right Infront of me, killing my vision. I kept shooting trying to get a clear shot before the doors closed which happened just as this second passenger (3rd frame) obscured my view.

Ostensibly, the 3rd frame most clearly depicts the shot I was aiming for. When when I went over them the first and second frame kept wrestling my focus continually growing on me until eventually I relegated frame 3 altogether.

To me, the first frame gives the sense of energy and movement as well as crossing that I intended to show with my original idea. Comparatively the 3rd frame feels flatter with less urgency or movement.

I'm terms of balance, I also find in the first image my eyes pulled down from the tungsten tube to the silver side panel of the train on the left of the image, then moving to the character on the platform which instantly pushes me up to the train doors. The feeling of being obstructed as I try to see what's happening in the train actually gives me the feeling of rushing to get in that car and the passenger being in my way, which again, is what I intended with my original image.
This first frame works for me, because I feel that which I can't see fully. It tells a better story.



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To get to the island of Manhattan I had to get the 3 train and change onto the 4.
This shot is an example of how I had to stay ready, and anticipate something unexpected.

To get the shot that made the book, I walked along the platform past what was going on and shot back towards where I'm standing in this image, but even from my vantage point in this image I could see the officers getting tense.

Whenever I saw police stopping someone I did try to take pictures, I don't like the idea of any officers acting wild in a blind spot, and I think the presence of a camera changes things. This situation was already underway when I arrived so I don't know what anyone was being accused of, but this guy stayed very calm as the officers pressed him.



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Being in New York meant spending plenty time getting acquainted with the subway lines, so I spent a lot of time shooting in dim light situations underground.

If you've watched any shows or listened to pretty much anyone from New York really admit New York, then one thing you'll be familiar with, is how these stations are rammed until soaked tunnels of mess and chaos. When I first started shooting, I wanted to get perfect exposure and really frame everything up tightly and square, but looking over the pictures I couldn't help but feel they weren't right. It's when I stopped concerning myself with 'perfection' that I started to understand that, the subjects in the frame were really important to me, but the subway itself, was a character that I needed to pay heed to, the environment in every shot had something to say, it wasn't just a backdrop, and in some instances people needed to take back seat to the subway and the tunnels and station itself.

This is one of the shots that I really like, which I couldn''t use for the book but had a very pleasing feeling to it which takes me back to that hot muggy thick air.


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This image was again an interesting play on the american flag again, featuring our famed yellow van. playing the buildings pattern off against the sky was obvious, but pleasing nonetheless. Unfortunately this didnt fit the project I was working on for the book, but I hope this will become part of another series as I think there's something in it.



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I wanted to do something here with the lines reflecting eachother. I wanted to juxstapose the steel and brickwork,m but ultimately, there was something about the colours and the balance of the light that I wasnt happy with. Its an image that I may come back to and work with in my editing suit to see if I can get it closer to what I was feeling looking at this scene, but it's not high on my priority lisrt, so, like many images it'll probably get lost to the pile of 'maybe later' which quickly ends up being months and years deep.



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This yellow is a very 'American' yellow, most popularised I suspect by the New York taxis. At first I was just intent on playing with the geometric shapes here, but then I was struck by the red and white in the background and how interesting it was that you arrive at purple by mixing blue and red, and the symbolism of that. The truer representation of a blood soaked history. I would have loved to do more with this image, it's times like this that I wish I were shooting on large format.


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