SIN WORLD

  One of the primary challenges I encountered during this process was engaging with the creative dimension of photography. I relied heavily on the “fishing method,” positioning myself in a single location and waiting for the opportune moment to capture the scene. While I did not adhere to a fixed set of technical adjustments, I frequently experimented with ISO and aperture settings, modifying them in response to changing lighting conditions and compositional needs

  In Part 1, Litovsky talks about dealing with social anxiety and how it made starting out in street photography tough. Her mentor encouraged her to keep at it, and over time she figured out her own ways to photograph people naturally without drawing attention. She admits there are some moral issues, but she sees them as just part of the art form.  In Part 2, she goes over the legal side of street photography. In the U.S., taking pictures of people in public spaces is allowed, but it’s up to each photographer to set their own ethical limits. For her, that means steering clear of shots that humiliate someone or turn hardship into an artistic display. I connected with both posts because I enjoy street photography and the characteristics that you see while doing it . There’s something fascinating about capturing genuine, unposed moments, and her perspective helps me feel more confident about moving past my own nerves. Even though I don’t fully agree with some of the methods she u...