And what if such a seemingly cynical approach to shooting street scenes where people are spots is just a method to recognize the wonderful interaction of all the variety of elements around us? It seems to me that it is so!
This is not rough physics, but metaphysics, where I love every stripe of shadow on the wall, every glare.
All the folds on each person's clothes are important to me.
It seems that I shoot this way to create a carpet of stains, but then I sit and look at each stain.
It's like I'm greedily taking the maximum out of reality and reflecting it on a plane.
For this principle of shooting, you do not need to go into details right away.
You need to first see the cluster of spots unfocused, capture it, and then consider the details.
It turns out to be something of a surprise.
All the interactions of chiaroscuro and color with people appear only later when looking at the finished image.
The film used to have a similar effect when it was impossible to see what happened.
Digital photography is relaxing in this regard.
You no longer have to draw a finished image in your head until you receive it.
It happens that you notice some interesting combinations in general years later ...
As a result, it turns out that the spotted principle of shooting is just one of the angles of perception of street space.
This is a method from the opposite: to simplify the picture of what is happening to light spots in order to get an interesting plot and details to it.
And let me remind you once again that in this series of images, the spotting is slightly reduced.
So that the plots are a little more understandable and do not go into complete abstraction.
