It's normal when it hits a spotty street from a prolonged winter, then this wave will start to decline. Usually, I continue to switch to rivers and icedrifts on them. The second wave of spring street is most often already in bloom.
There is also an intermediate wave, when the first leaves are pecked and the shadows from the trees become less rigid and linear.
But in the last two years, during this period, I have preferred the manifestations of spring.
I've long since figured out how my entire creative mechanism works and I don't interfere with it.
It is perfectly configured automatically and any manual intervention will disrupt the well-functioning system.
I don't have any new discoveries yet in the metaphysics of photography and in spotting in particular.
I'm just using well-honed techniques.
But it seems to me that I will definitely discover something else...maybe for others.
I'm always on the lookout.
I'm also very self-critical, so when combined with the search, it leads to all sorts of discoveries.
...There are other discoveries of an informational and historical nature.
For example, I have just discovered that Henri Cartier-Bresson was a proponent of some Japanese doctrine, which was eventually realized in photography in the form of detachment from participation in the process.
He believed that not only couldn't you use a flash, but even clicking the camera created presence and engagement.
And, let me remind you that before there were only clicking cameras, and quite loudly.
And his philosophy is very close to me.
Now, with the help of mirrorless cameras, you can get away from participating in the filmed scene as much as possible and become invisible.
But a person is needed in order to see the perfect moment in all this chaos and press the button in time.
According to Bresson, there is an ideal situation (chiaroscuro, people, moment) at some point and we are in order to capture this moment.
He was the founder of street photography, where the crucial moment is the key.
I'm somewhere close, but sometimes I disagree.
Sometimes I want to capture the chaos itself, where there is no perfect moment...either the perfect moment is the one that I myself have identified as ideal.
I'm drawn towards the theory of superposition...where reality is like a game...I didn't load up where there is no our attention.
It's too much, yes...because if there is no attention, then the plot will not work out due to the lack of loading.
But there is no perfect moment either...or he's always everywhere at the same time.
When I choose takes from a series, because of the movement of a person, light and shadow fall on his face in different ways ... and I like all the options!
And I also like to look at photos after shooting – so many details and combinations are discovered after!
Very often, the universe itself prompts and guides, and the realization of this comes later.
I aimed the camera by intuition, and then you look, and there's a very interesting composition.
