>>2990192In the past I don't think I ever had that much to say about your 6x6 shots since you seemed to know very well what you were trying to accomplish with them formally, but since you're more or less freestyling ITT I might as well write down the thoughts I'm having looking at the pictures. What I mean is just that although I usually am/was too lazy to bother commenting unless I either believed I could prescribe the most correct and/or vital advice for the OP, or if I just wanted to flame them, I'm not making such an egotistical presumption here in relation to your work--i'm just doing the more basic critical thing where I serve as a mirror for your work by describing what I see. (tl;dr I-It's not like I like you or anything, baka)
>>2989398the light here is good, actually perfect, hopefully this is a place/time you can come back to a lot and "stake it out", as it were, because I think that there is an amazing photo in the scene that will appear under the exact right conditions. In short, the contrast between the figures inside the train and the shadows of the people standing on the platform is very compelling, but it would be better if the people inside the train were most clearly/less blurrily rendered; if the live figure of the train conductor was not part of the crowd of the shadows, or at least was integrated into them in a more meaningful way; and also possibly if the shadows/silhouettes were higher up on the side of the train, more clearly differentiated, and animated in more meaningful poses.
>>2989402very good composition, very good contre-jour, also I don't know if you've noticed but the image ultimately seems to focus all our attention on the shiny black shoes of the students because 1) they appear in the compositional focal point, 2) they have a lot of visual contrast and detail--deep blacks and bright white reflections, etc. etc. 3) they are mostly distinctly shaped in contrast to the blurryness of the students.
Continued, probably
