"StreetScapes" B+W

A Colorful Journey of Black+White Photo Ideas

E.J.Kelly

TheHappyHombrePress
Copyright © 2022 by E.J.Kelly

All rights reserved.

No portion of this book may be reproduced in any form without written permission from the publisher
or author, except as permitted by U.S. copyright law.
 Dedication
This photobook is dedicated my daughters and friends that continue to
encourage my journey.
Foreword

"Prisms"

When it came time to write the forward for this book, the first word that
came to mind was "prism." Maybe I tried to be clever by using the word
"colorful" in the title. Or it could be my quest to connect everyone and
everything. You already know this is true from my perspective. I digress. We
are all connected. Aging is to blame for this. This is something I do a lot
lately, but let us get back to this exciting subjective narrative.
The term "prism" has different definitions, all of which can be used
interchangeably with and without photography. Consider the use of the term
"prism" in geometry. This is a simple but overwhelming concept called a
parallelogram. a solid figure with two equal or similar ends where the sides
represent a parallelogram.
What does that even mean? I do not understand. My education was
hampered by algebra and geometry. I would never have advanced to
"probability and statistics" if it had not been for a patient, insistent nun
pushing me down the line. This lofty mathematical discipline necessitates a
selective and distinct viewpoint for each calculation.
Parallelograms appear in abstract photography. These forms are
occasionally used as designs. Furthermore, if you look at the two main
composition rules in photography, the "rules of thirds" or the "golden spiral,"
you will learn a viewpoint where the elements within the photo can be placed
at specific points, sometimes resulting in different shapes such as
parallelograms.
In photography, another definition is how to use a prism to bend light to
make a rainbow or other effects, like reflections, that give photos a dreamy
look.
The following significant meaning of "prism," and its primary use in this
gem of a forward, is "perspective" or "point of view."
So, when I say, "Let's get back to this exciting subjective narrative," I am
expressing an opinion that influences mine. It is my perspective, my
viewpoint, my standpoint, my perception, and my view. You get the point.
You are free to form your own opinion.

This, my friends, is the point of all of this.

Inside are selected photographs taken through the prism of my eye.

Various photos were taken from various vantage points, such as squatting as
opposed to standing, but more importantly, they are my interpretation of a
specific subject or scene. As you will see, my passion has no single style, but
this book is enthusiastically devoted to a new area of photography for me.
black and white images.

Color is used for the other books in this series. Go here Or here

I used inspiring quotes from famous photographers to finish this book. The
goal is to give the reader a distinct perspective on the subject as seen through
the eyes of more experienced photographers.
While doing so, I discovered it to be an extremely useful prop for drafting
short essays for each photo. I tried to match the quotes to the reasons for
taking the images in the first place, and I used the quotes to help explain my
perspective and wanderlust with my camera.
What luck, eh? a fresh idea for writing, which, from my vantage point, is
difficult to do.

Enjoy.

E.J.Kelly
Contents

1. Chapter 1
Cover "Walking the Line"

2. Chapter 2
"Twin French Towers"

3. Chapter 3
"Drinking Buddies"

4. Chapter 4
"Walking Running Sitting"

5. Chapter 5
'In the Loop"

6. Chapter 6
"On the Phone"

7. Chapter 7
 "Gothic Queen"

8. Chapter 8
"Cigarette Break"

9. Chapter 9
"Stacked Chairs"

10. Chapter 10
"Dockside Man"

11. Chapter 11
"Fan Facade"

12. Chapter 12
"Musical Chairs"

13. Chapter 13
"Moving in Semi-Circles"

14. Chapter 14
"Floating Monk"

15. Chapter 15
'Dust Up"

16. Chapter 16
"Sky Stairs"

17. Chapter 17
"Framed Lovers"
18. Chapter 18
"Happy Family"

19. Chapter 19
'The Boss"

20. Chapter 20
"Walking Silhouette"

21. Chapter 21
"Lunch Time"

22. Chapter 22
"Beach Lady"

23. Chapter 23
"Over Head Ladies"

24. Chapter 24
"Where is my Bike"

25. Chapter 25
"Look no Hands"

26. Chapter 26
"Corner View"

27. Chapter 27
"Exhausted"

28. Chapter 28
 Guest Photo

Also By E.J.Kelly

About Author
Chapter 1
Cover "Walking the Line"
 Sony 6300 F/8 sec 1/400 ISO 100 37mm
“Taking an image, freezing a moment, reveals how rich reality truly is.”
— Anonymous
 There is no other way to explain this photograph than to say, "I was in the
right place at the right time." This can be said of most photographs; however,
this one was a bit more fortunate for me. I was almost directly in the path of
the sun. captured on camera in Almeria, Spain, in April 2022. It was nearly
midday, and the sun was directly shining on this new walkway that spans the
station and leads southward to the beach. I was actually interested in seeing
how the new bridge looked. I thought it was still incomplete until I noticed
the cement path and freshly painted guardrails.
It was opened and ready to be walked across. I just needed someone to
walk through the frame. I waited about 10 minutes with the camera set to
continuous and a high f-stop to reduce the sun's glare. The shadow and
leading line from the railing and the individual almost directly lined up in the
middle under what appears to be a frame gave me what I think is a decent
composition.
The shadow and leading line from the railing and the individual almost
directly lined up in the middle under what appears to be a frame gave me
what I think is a decent composition. a frozen moment in time?
Chapter 2
"Twin French Towers"
 Nikon d3100 f/5 Sec 1/500 ISO 200 24 mm
“The pictures are there, and you just take them.” — Robert Capa

Capa was right. It is so true that scenes for photos are everywhere. What
makes this statement more salient is the fact that Mr. Capa was using film,
and of course, you can fire up your digital camera and shoot anything and
everything without the cost of film or developing equipment. I would add one
more thing to his quote: "Behave like a tourist and shoot like crazy."
This image was taken a while back on my second or third trip to Paris. At
this point, I was not quite the "novel tourist," if there is such a thing, but I
was still going mad and shooting everything. With some familiarity of where
I was, I took a more measured approach to photography this time. I took this
image from the grand concourse. I noticed this prop being used to sell ice
cream in a nearby shop. I backed up as far as I could and was able to get both
"towers" in the frame. The tourist in me sent me to the ice cream shop, but
the shutterbug in me made me take this photo. Get out there as a tourist and
discover an endless number of photos to be taken. The other advantage is
that, as a tourist, no one cares about what you are doing.
Chapter 3
"Drinking Buddies"
 FujiFilm X-T20 F/5.6 1/250sec ISO 250 80mm
“It’s one thing to make a picture of what a person looks like, it’s another
thing to make a portrait of who they are.”
— Paul Caponigro
Without having the time to engage in a conversation with these two, I think
in passing I was able to capture their sense of being there for each other. It
was late in the day, and they might have needed a short break from whatever
they were doing. If you remove the beer and just view their posture and the
position of the woman with her eyes closed, leaning over as if listening and
giving the appearance of being blind, the man with his running suit hat askew
and his trimmed beard gives the impression of relaxation but actually looks
tired. Of course, all of this is conjecture, and these details were noticed after I
took the shot and looked for clues as to who they really were. In the end, this
photo is what they looked like in that moment and is far from a portrait of
who they really are.
This is one of my favorite photos, taken from the hip to be as discreet as
possible. Notice the 80 mm.
Chapter 4
"Walking Running Sitting"

FujiFilm Xt3 F5.6 1/160 sec ISO 200 mm 29

“Photography is about finding out what can happen in the frame. When
you put four edges around some facts, you change those facts.”
— Garry Winogrand

Oof A lot of editing was required to get this one right. At first, I cropped it
to reflect the two women walking and the two kids running in the opposite
direction. Upon second inspection, I noticed an older gentleman sitting on the
bench with a mask. Recropping and changing the aspect It now included all
three subjects in the frame. Love it. I now have something representing
different generations during the pandemic, exhibiting different actions. really
crazy photo. My initial point of view was on that curved wall leading to what
I believe was a bathroom. This is the bottom of a lighthouse in a park. I
thought the wall was interesting but knew I would have to wait for someone
to enter the frame by going up the bathroom ramp. Never happened. So I
backed up, changed my angle, and waited for something to happen.
Sure enough, the entire scene changed with the addition of the kids and the
two women walking by.
The gentleman on the bench was an added bonus. Changes were made to
the composition's dynamics, and some new "facts" were added within the
edges.
Chapter 5
'In the Loop"
 FujiFilm xt20 F5.6 1/180 sec ISO 200 20mm
“If you want to be a better photographer, stand in front of more
interesting stuff.”
— Jim Richardson
 I would say street photography is 80% luck and 20% technical, including
choosing your locations. Of course, within that lucky 80% comes the time,
the experience, and the need to be prepared. The day before taking this
image, I walked by this construction site, where they had finished the main
construction and were now adding underground cables entering the buildings.
It was high noon, and those cables were catching some wicked shadows.
Unfortunately, I didn't have my camera, but the time and location were duly
noted.
The next day, I stepped out at almost the same time. I set up my portable
studio. Just kidding, my outdoor studio consists of me and my fingers on the
shutter of my camera. Luckily, the shadows were still there as well as the
cables, albeit half as much as the previous day. Because this was a relatively
remote area with few people passing through, my first composition attempts
involved placing my hand in front of the camera along the cables to give the
impression that I was pushing them. It didn't work. So I went back to waiting.
Finally, I spotted this guy walking through the area with his phone to his ear
—in step and in the loop!
Chapter 6
"On the Phone"
 Sony a5100 F6.3 1/320 sec ISO 125 50mm
“It’s not the photographer who makes the picture, but the person being
photographed.”
— Sebastiao Salgado
If you have not seen any of Sebastiao Salgado's photos, I urge you to do so.
He is incredible, and many consider him a master. Check out his photos from
the Kuwaiti oil fields during the war. His quote here is right on! If you look at
this photo, you will notice the striped floor with different tones, almost
capturing the entire range of black and white. This is an alley along the side
of a McDonald's restaurant. They have black and white tables set up, which
can be incorporated into the composition as well. I return there frequently,
hoping to capture the light and a person in a specific angle or position that
highlights those tones. It is frustrating.
When making the attempt, the light or the shadows don't cooperate, or the
people walking by are wearing the wrong colors or are simply not interesting.
That changed with this photo. I have no idea who she was, but that pose
made the photo. The slight tilt of her head and the symmetry between one
hand holding the phone while the other is holding a cigarette are all "her."
It helped that she was wearing a black top and black shoes, which gave me
some additional tones and contrast in relation to that wonderful floor.
Chapter 7
"Gothic Queen"
 FujiFilm xt20 F5.6 1/150 sec ISO 200 45mm
“Photographs open doors into the past, but they also allow a look into
the future.” — Sally Mann
Looking at this, one may think it is a photo of the iconic structure from
years ago. It is not. It is a recent photo taken sometime in 2001 after the fire.
The disaster occurred on April 15, 2019. Americans will find it easy to
remember because it is tax day. It really is one of the most stunning examples
of what can be done by mortal humans. Taking photos of this building is
actually quite difficult. You need to spend time deciding what lens to use and
from where you want to position yourself. There is a courtyard in front where
you would consider a wide-angle lens. There is a walkway across the street
where you may need a mid-zoom lens. Along the riverside, you would also
need a wide-angle lens. Finally, if you walk around the back, you'll find a
small park where you can plant yourself in various positions and use "wide"
to zoom.
This was taken from the courtyard's right side in order to not place the tree
in the foreground and to eliminate the current image of a massive
construction site. It looks like significant progress has been made to restore
this magnificent structure to its original state.
And yes, this building speaks volumes about the past and will do so into
the future.
Chapter 8
"Cigarette Break"
 FujiFilm xt20 f/7.1 sec 1/250 ISO 200 35mm
“Don’t pack up your camera until you’ve left the location.”
— Joe McNally
This McNally quote is spot on, especially in light of this photograph. This
is outside a hotel in Malaga, Spain. The length of the walk is covered by an
overhead roof. At midday, the sun shines through holes in the roof, creating
circles that resemble spot lights. As the sun sets behind the hotel, it forms
various shapes in various locations around the property. It happens quickly,
and you must be patient and prepared for anything.
I was hoping that someone would pass through the triangle of light after
noticing it.
I was about to give up when I noticed a woman in a black dress lighting a
cigarette and leaning against the column behind her. I took several shots,
wanting to yell at her to move closer to the light. Discretion was the order of
the day, and this image was the best of the bunch from a location where I
usually pack the camera and leave way too early.
Chapter 9
"Stacked Chairs"
 Sony a5100 f/3.5 sec 1/80 ISO 250 50mm
“In photography there are no shadows that cannot be illuminated.”
— August Sander
Transforming everyday objects into abstracts brings me joy. It's difficult to
do this in black and white because it's so dependent on the tones and shadows
that hit the subject. Using black and white to achieve this, I find myself
carefully inspecting light sources from around, on top of, beneath, or on the
sides of the subject. Unlike capturing abstracts in color, you must think in
black and white. You get the idea. Some of my other color abstract photos
can be found in another book in this series. Using black and white to achieve
this, I find myself carefully inspecting light sources from around, on top of,
beneath, or on the sides of the subject. Unlike capturing abstracts in color,
you must think in black and white.
Another useful task for me is to get close and, if necessary, crop even
closer in post-production.
This is an area where I feel I need to improve, especially with objects like
this stack of chairs. Shooting black-and-white abstracts of buildings and
larger objects is easier because the patterns and forms are more noticeable.
As you read through this book, you will see examples of this. In any case,
shadows can be illuminated by using your imagination.
Chapter 10
"Dockside Man"
 FujiFilm xt3 f/4 sec 1/1250 ISO 200 59mm
“I like to photograph anyone before they know what their best angles
are.”
— Ellen Von Unwerth
 You probably wouldn't notice it if you looked at the various photos of
people in this book, but I find it extremely difficult to do street portraits. I am
always concerned with being discreet and respecting the space of others. A
special shoutout to the photographers who make this process appear to be
simple.
Being subtle is a thing for me now; I carry an 85mm fixed lens with me,
which in most cases gives me full separation from my subjects. Another thing
I try to do is shoot people from behind. This works if you have an interesting
backdrop or you find the subject in a specific pose. With this photo, taken on
a marina dock, I tried to blur out the background and waited discreetly from
behind for him to tilt his head. Indeed, Ms. Unwerth's quote is useful and
appropriate. The subject never really poses, and most times they don't really
know their best side or angle.
So take the photo from the angle you think is the best, and then do it
discreetly if you are shy like me.
Chapter 11
"Fan Facade"

Nikon d3100 f/5.6 sec 1/320 ISO 200 45mm

“The camera sees more than the eye, so why not make use of it?”
— Edward Weston
This photograph was taken in Germany. I believe it was in Frankfurt. I was
there on business, taking profile pictures for a new book by an author. I
wasn't particularly interested in street photography or urban images at the
time; I was mostly taking photos as a tourist. As luck would have it, I
happened to walk by this building on the same side.
I didn't notice the fanned-out structure in front until the next day, while
walking and looking at the structure from across the street. I got closer and
took this picture. I later converted it to black and white because I noticed I
had a lot of contrast and different gray tones.
Initially, my eyes saw more than my camera, but the camera picked up on
the other elements, such as the clouds reflected in the upper left corner and
the light hitting almost directly in the center. I also didn't notice what
appeared to be a lamppost in the lower right.
Use your eyes, but leave the camera to do its thing!
Chapter 12
"Musical Chairs"
 FujiFilm xt20 f/6.4 sec 1/400 ISO 200 41mm
“Photography for me is not looking, it’s feeling. If you can’t feel what
you’re looking at, then you’re never going to get others to feel anything
when they look at your pictures.”
— Don McCullin
This has got to be one of my favorites, but as another distinguished
photographer in this book says, I paraphrase, "My favorite photo may be my
next photo." This image is from the upper balcony of a commercial center in
Stockholm. I should say it is an open space with black, white, and gray
cement tiles as the foundation. While there, I saw it utilized as a skate park,
cafe, and restaurant set up, and at one point, a stage was used for a music
concert. With camera in hand and playing tourist, I walked on the upper
balcony, and the most obvious visual was the contrast of black and white
between the tables and chairs and the stairway leading up to the balcony. So
here I was in an open space with the sun almost directly in my eyes. It would
be logical to shoot at a higher f-stop, but I figured the shutter speed was good.
I basically tilted the camera down and snapped blindly on the patio. I was
able to capture several decent black-and-white photos doing this. The next
chapter highlights another one. This was all feel, as in not looking.
To me, they look like musical notes, hence the title.
Chapter 13
"Moving in Semi-Circles"

FujiFilm xt20 f/6.4 sec 1/640 ISO 200 32mm

“What makes photography a strange invention is that its primary raw
materials are time and light.” — John Berger
 As in the previous chapter, this image was grabbed from the same "cement
park" in Stockholm. This one was snapped a little later in the day, and by that
I mean from a slightly different angle and from a little lower position on the
stairs leading up to the balcony. If there is one thing to know about
Stockholm, it is the extended amount of daylight they get. In June, the sun is
out for more than 18 and a half hours. While I was there, I had to adjust to the
sun rising at about 3 in the morning. It really throws you off, but you have to
think this is one of the best places to take photos. This image, as most, was a
matter of waiting for someone to walk through at the right time in the right
light. The primary raw materials, as Mr. Berger is quoted,
In post-production, I did have to turn up the blacks to give that semi-circle
more detail and allow for more contrast against those cement tiles.
Chapter 14
"Floating Monk"
 Sony 5100 f/8 sec 1/250 ISO 160 50mm
“The picture that you took with your camera is the imagination you
want to create with reality.”
— Scott Lorenzo

I wanted to create the sense of this holy man floating along a path to the
unknown. Not really. However, I am always on the lookout for saintly people
like nuns, priests, and monks—holy persons. I have no idea why. Maybe it
has something to do with their garb and habits. Funny eh? This is a passable
shot because of the flow of his robe, his slightly upward-tilted head, his
expression, and his step. This photo was taken in the heart of a commercial
district in Malaga, Spain, at the conclusion of the pandemic.
In reality, you can create a lot of things using the camera. Many times the
shooting seems random, like in this photo. The camera setting was on
continuous, and while there, I let it fly. In post-production, I cropped in until
the monk was centered between that "The Top" sign and before he planted
his foot in front of the potted plant. We're getting silly here. But just know
that photography is one of the easiest ways to use your imagination, with
most of the creation time happening in the moment or even in post-
production.
Chapter 15
'Dust Up"
 Sony 6300 F6.3 sec 1/125 ISO100 85mm

“A good photograph is knowing where to stand.”

— Ansel Adams
 I can get behind that quote. It really seems obvious, but positioning is
really where the action is. Most of us, out of habit, shoot at eye level and
never go up, down, or, for that matter, stand slightly to the left or right of the
subject. With tilt screens now available on most cameras, it makes it easier;
however, it is still necessary to move your feet. Again, using the camera's
continuous setting, I passed this scene and fired away, but I knew I had to go
into uncharted territory. That is, almost level with his butt. The first thing that
attracted me was not his butt, but the steam coming off the street.
The framing was there, right between those two cement buckets. It was an
easy shot and one of the best of the day. The only thing I did different from
my usual routine was that I quickly switched the camera from autofocus to
manual focus. It is difficult to focus on steam, reflections, or through
windows unless you are in this mode. I'm learning more about this and
certainly trying my best to be in the right position.
Chapter 16
"Sky Stairs"

FujiFilm F/13 sec 1/500 ISO 200 35mm

 “Photographers stop photographing subjects too soon before they
have exhausted the possibilities.”
— Dorothea Lange

This quote from Ms. Lange is another obvious thing we as photographers

must be aware of. It is almost the equivalent of waiting or fishing. The
technique of patiently and persistently waiting for someone or something to
pass through your studied compositional frame Man Ray, a well-known
photographer, was shooting a fashion editorial. He began early in the
morning and didn't finish until the end of the day, when he captioned one of
the most iconic photos of all time. When asked about it, he said he and the
model were completely spent and exhausted.
I read that and tried to recall any activity where I was better starting out or
better when completely exhausted. Indeed, there are times when this happens,
and photography, for some reason, is one of them. Maybe it has to do with
being so relaxed that your adrenaline starts to flow to normalize your action. I
don't know, but for this shot, it happened to me. This was taken at a marina. I
stared up at an overhead structure for almost three hours until I arrived at this
image. This was one of the last photos of the day. I am not Man Ray, and yes,
my neck was hurting! Thanks for asking...
Chapter 17
"Framed Lovers"
 FujiFilm Xt20 sec 1/250 ISO 200 35mm

“A portrait is not made in the camera but on either side of it.”

— Edward Steichen

The technique of trying to frame people within your compositional frame

is really cool. You need some patience and a lot of luck. When you come
across a relatively static subject, like this couple in front of borders, you're in
luck. They were sitting on a bench in front of a fence made out of tall poles. I
was drawn to the lines on his shirt and the way her hair cascaded down to his
hand. Sexy. For this, the framing was easy, and I had plenty of time to
compose. Originally shot in color, it was converted to black and white after
discovering some interesting tonal elements. The use of frames with dynamic
subjects is harder. You may have decided on your borders, but to make the
photo interesting, you have to wait for a subject to move through.
I have recently tried this technique on buses picking up passengers. I aim
my camera through the bus window toward the opposite side of the bus,
hoping to catch someone moving through the frame. This is extremely
difficult to accomplish. The first issue I encountered was that the photos
frequently showed my reflection.
What an idiot I am! This will take me forever to master.
Anyway, if you can meet the challenge, it is a fantastic method for taking
portraits.
Chapter 18
"Happy Family"

Sony 6300 F/3.5 sec 1/100 60mm

“If you see something that moves you, and then snap it, you keep a
moment.”
 — Linda McCartney

I did see something that moved me, and it was this Spanish family
celebrating "Semana Santa." It is the week set aside to commemorate the
tribulations of a man they have never seen or will never see. This photo was
snapped while I was squeezed in between those walking the streets and those
waiting on the sidewalks anxiously anticipating the procession of religious
floats to pass by. I had my camera, but it was off. There were too many
people, and generally, my anxiety kicks in and I go into a nonsocial shell. I
did notice this family posing for a photographer while standing in front of
them. I quickly turned the camera on and meandered back to a position
behind the photographer. I'm glad I did. To me, this photo represents all the
goodness and happiness that Spanish families project in Spain.
It is the height of a typical Spanish family, enjoying and celebrating all that
is good about where they live. Look at their expressions and tell me this isn't
true. I was moved to act and capture this moment. a moment that will never
present itself again! It's your move...
Chapter 19
'The Boss"
Sony 6300 F/4.5 sec 1/80 60mm
 “I am not interested in shooting new things – I am interested to see
things new.”
— Ernst Haas

Ah yes, letting the imagination run completely wild. I see things. I see
things. Indeed, we all see things, but how we choose to express or interpret
those things becomes interesting. There are times when I walk and there is
nothing to shoot. I have to make it work by exerting more energy and using
my imagination. This was one of those days. After walking about 5 miles, I
came across a row of stores selling everything from vintage clothing to this
store selling secondhand furniture. I thought the placement of the helmet on
the stool and the juxtaposition with the chair were interesting. The most
interesting thing I came across this day was this photo. Post-production is
when I name my photos.
When I saw this, the first thing it reminded me of was a former boss. He
did nothing all day but stare into nothingness. That helmet is just about the
right size for the head of said boss.
This was made in homage and I thought it was amusing and imaginative.
Chapter 20
"Walking Silhouette"
 FujiFilm Xt20 f/7.1 sec 1/1900 ISO 200 55mm
“Wherever there is light, one can photograph.” — Alfred Stieglitz
 Stieglitz, one of America's most famous photographers, is responsible for
one of the most iconic photos ever, "The Steerage." Created in 1907, it led to
him being the principal figure in a movement called "Straight Photography."
My understanding is that it has to do with accepting photography in its
organic state and not always being compared to painting. It's a style of street
photography that his contemporaries recognize. Experts see "The Steerage"
photo as establishing a new era of photography. While I am nowhere near
Alfred's level, I totally agree with his quote. Doesn't the original meaning of
"photograph" mean "drawing with light"?
As a photographer, the sooner you learn this, the better you become. It is
the placement and manipulation of light in a scene or on your subject that
complete your photo. This image was taken late in the day, looking up at an
overpass. I increased the shutter speed and waited. It was the height of the
pandemic, and you could sense the need for people to get out and return to
normalcy, even for a long stroll.
This silhouette of a man strolling with his mask on and hands in his
pockets represented that to me.
Chapter 21
"Lunch Time"
 FujiFilm Xt20 f/6.4 sec 1/400 ISO 200 23mm
“Photograph: a picture painted by the sun without instruction in art.”
— Ambrose Bierce

Similar to the quote by Alfred Stieglitz, this quote again deals with using
light and references the original meaning of photography by stating that the
sun, or "light," is king but implying your final creation requires no skills in
art. I kind of agree with this. I have given friends and acquaintances
beginner's instructions and lessons in photography. By this, I mean the basic
details on composition, light, etc. It never ceases to amaze me how some
people take fantastic photos right away when they begin their photographic
journey. You dig a little deeper, and you find out they have taken art classes
in school, or their parents were involved in the arts, or some other connection
that quickly becomes apparent. There is an amazing contrast here because I
know very good photographers who have no artistic background.
I am one of those. By no means am I a master; I have never taken an art
class. It just goes to show that anyone can pick up on this wonderful
discipline. This photograph was taken in Stolkholm, Sweden, in direct
sunlight with strong leading lines.
Chapter 22
"Beach Lady"

FujiFilm Xt20 f/2.8 sec 1/400 ISO 200 35mm

“I’m an amateur photographer, apart from being a professional one, and
I think maybe my amateur pictures are the better ones.”
 — Elliott Erwitt

Sometimes you have to give credit or a shout-out to other artists. I found

this anonymous rendering on a wall near a cruise ship docking point. You
should keep your eye out for this kind of stuff. File these types of images
under your "photo jargon." You can later retrieve them for use in constructing
a composition using the forms or other elements you have seen in images like
this. There is something mesmerizing and amateurish about the rendering, yet
the more you look, the more complex it is.
The elements are positioned on the same focal plane, and it's one-
dimensional and flat, but it sends your mind in different directions as you
search for common, relatable patterns. That tension and disruption are set off
by the image projecting tranquility. This is something we are more familiar
with. A woman, an umbrella, the beach, and the matching shadows tell the
real story.
Tones, contrast, and shapes should be things photographers look for. You
can go further and increase your photography jargon by looking out for
graffiti or other great art on urban walls.
Chapter 23
"Over Head Ladies"

Canon Rebel f/6.3 sec /200 ISO 100 80mm

“One doesn’t stop seeing. One doesn’t stop framing. It doesn’t turn off
and turn on. It’s on all the time.”
 — Annie Leibovitz

Ms. Leibovitz, I know the feeling. Since I caught the photography bug, I
see my world in frames. I see my world in frames. Everything becomes of
interest to me and is framed. I really need to get a life! Seriously, even
without my camera in hand, I walk around composing photos of different
scenes. Often there is nothing there; however, at times I wish I had the
camera, but it doesn't matter. In my opinion, your creations are what your
eyes see, when and where you had your camera, and if you were able to
caption something worthy! Speaking of eyes, sometime ago, someone
mentioned squinting as a prerequisite for composing.
Evidently, the narrow vision gives you clarity! This photo was taken from
above and composed without squinting. I found the pattern of the pavement,
the vertical lines, and the tone of the subjects' hair and clothes worthy
subjects. Maybe I should have squinted... What do you think?
Chapter 24
"Where is my Bike"
 FujiFilm Xt20 f/5.6 sec 1/800 ISO 400 18mm
“Photography is a small voice, at best, but sometimes one photograph, or
a group of them, can lure our sense of awareness.”
— W. Eugene Smith

I found this photo to be hysterical and somehow hoped to convey my

fleeting emotion. I spotted this gentleman walking around with his helmet
and his aluminum-like motorcycle garb in the center of the city. The
surveillance began at a corner, where he stopped, looked, and frowned. I
followed him for several more blocks and realized he was looking for
something. His bike. He began looking into patios, doorways, and alleyways
along the way. This went on for several blocks until we were back at the
starting point. I'm guessing this courtyard is where he left his bike. Just
looking at the photo, you would not know this, which goes against the rules
of having your photos tell a story, but this story required a little background.
To be fair, I wanted a shot of him. I noticed the tones of his hair and jacket
and the wild design of his helmet. The voice in this photo has come forward
and been amplified.
I still find it funny, and I hope he found his bike!
Chapter 25
"Look no Hands"

FujiFilm Xt20 f/6.4 sec 1/180 ISO 200 45mm

“Photography is a medium in which if you don’t do it then, very often
you don’t do it at all, because it doesn’t happen twice.”
— Paul Strand

One thing that has been stressed and that resonates with me is the
importance of capturing the moment. I can't tell you how many times I have
framed, watched, or seen something without having my camera. It happens to
all of us. The fact is, I am now on a mission to save my pennies and buy a
smart phone with a decent camera. This photo, cropped really tight (sorry
about that), shows a girl either just getting off that scooter or showing
whomever she is looking at that she is about to get on the scooter.
Love it. It reminds me of the old joke, "Look, Mom, no hands," followed
by "Look, Mom, no teeth." I didn't hang around long enough to find out what
happened. But you gotta love the completely organic moment in this shot.
And indeed, unless you stage this, it will never happen twice!
Chapter 26
"Corner View"
 Sony 5100 f/10 sec 1/400 ISO 160 50mm
“A camera is a tool for learning how to see without a camera.”
— Dorothea Lange

I saw this without the camera and was hoping what I saw would be
realized when I used the camera. I had visited this spot on several occasions
and never quite liked what I saw. It just didn't work. This time I changed my
angle a little and caught a break with those clouds appearing in the
background. This is part of a hotel. The sun sets behind it, and the timing has
to be just right to capture the light, allowing for the creation of silhouetting
and the sharp contrast between the different areas within the structure. I do
enjoy doing single shots of structures like this. I am a big fan of architecture
without knowing much about it.
Yet another thing to learn, but lines, shapes, and tones on buildings like
this make for great black-and-white photos.
I might add a caveat to that quote. Sometimes what you see may be
perfect; however, the results from the camera may be different.
Be careful, and improve your chances by taking a lot of photos.
Chapter 27
"Exhausted"

FujiFilm xt3 F/6/4 1/50 sec ISO 80 80 mm

“All photographs are accurate. None of them is the truth.”
— Richard Avedon
 I wonder in what context Mr. Avedon used this quote. Did he say this
about a fantasy fashion shoot he was doing where the elements inside the
photos, aside from the models, were all made up? Curious. Anyway, I think
it's appropriate for this shot. The photograph is not as it appears. a massively
chaotic scene where workers have left a giant mess. Shot from my apartment,
one could not help but be disturbed by the noise. Looking out, I could see
several workers banging away with jack hammers, sledge hammers, and a
cement mixer, waking the entire neighborhood. One of the few places in the
world where you need 15 guys to patch a 3-foot hole
You could speculate that the man is one of the exhausted workers, but you
would be wrong. This guy was nowhere near this scene during the rumble.
He came along afterwards and decided to nap in the middle of the mess.
So upon careful inspection, this photo is accurate but definitely not true!
Chapter 28
Guest Photo

The book's guest photographer is Carlos Sastre. He is an incredible giver

and sharer who is a real and gifted buddy. His experience in photography
spans years. Early in his career, when he built a darkroom for developing his
own photographs, he made the decision to focus primarily on the field of
black-and-white photography.
As a photographer, I am often astounded by his depictions of places and
people, since his imagination frequently veers into the weird. His viewpoint
is distinct and should be shared.
His art is accessible on Facebook and Flickr.
Thanks for being there.
My Regards,
Eric.
Also By E.J.Kelly

"StreetScapes" Stills/Found Objects

An Arresting Journey of Photo Ideas

 A Photo Feast of Street
Images!

"StreetScapes" Abstracts A refelective Journey of Photo Ideas

 Fantastic Design Ideas +
Photo Book

"Treasures in Time" How to Profit Collecting Vintage Watches

 Best seller Guide for How to
Profit from Vintage Watches

"Treasures in Time 2" Profit from Vintage Quartz and Electric Watches
 Learn to make money with
quartz and electric watches!

"Teaching English Abroad" a How to Guide

 Practical and useful guide on..
How anyone can teach English around the world!

"Teach English Abroad to Spanish Students" a How to Guide

 A how to guide for
specifically teach English to Spanish Students.

"Hot Sticky Plastic Suits" Startup Ideas to Retire Early

 Great practical fun stories on
Starting Small busineses!

"Write with Passion, Sell with Power" Write for Profit

 Easy Methods for writing and
easy ways to market your eBooks
About Author

Photographer writer, teacher, entrepreneur, traveler, and motivational

speaker: E.J. Kelly, also known as 'the happy hombre,' has worn these hats. A
native of New York, he discovered his entrepreneurial spirit while young,
starting and running several successful businesses in the United States before
moving to Europe.
One of his U.S. startups provided IT professionals with
headhunting/human resources services. He also owned and operated a real
estate company, a travel agency, and a bagel delicatessen, considered one of
the best in the New York area.
After becoming an expatriate, Kelly continued his success by opening the
Manhattan Martini Bar in Madrid. In 2002, the well-respected "Lo Mejor De
La Gastronomía" (the best of gastronomy) named the Manhattan Martini Bar
the best cocktail bar in Spain. This guide by Rafael García Santos also ranks
great restaurants, dishes, delicacies, and wines.
E.J. Kelly now focuses most of his time on photography and living life
fully, writing and publishing self-help and how-to books, and teaching
"Native English" and Business English. He occasionally accepts invitations to
give motivational speeches to students and business professionals.
His interests include cinema, reading, photography, vintage watch
collecting, business, teaching methods, foreign cultures, travel, and
languages--but not necessarily in that order.
Follow that dream and please leave a positive review!