SIN WORLD

 When I first started this assignment, one of the biggest challenges I faced was my creative process. It wasn’t so much about handling the technical aspects of the camera, but about figuring out how to approach the assignment in a way that felt natural. I found myself overthinking what kinds of images I could capture, which made it harder to simply go out and shoot. Once I pushed past that block, though, the process became both rewarding and eye-opening. Through this project, my understanding of light and shadow grew a lot. Before, I didn’t always think about how much of a role natural light plays in street photography. Now I see that shadows are everywhere, shaping the way we experience and frame a scene. They aren’t just background elements they can add mood, depth, and balance to an image when used intentionally. The image I’m most satisfied with is the one of the man riding a bike. I really like how I was able to capture the window reflections from the building across the stree...

    One of the main challenges I faced during this process was engaging with the creative side of photography. I often relied on the “fishing method,” staying in one spot and waiting patiently for the right moment to unfold in front of me. This approach sometimes felt a little strange, especially when I was very close to my subjects, but it also pushed me to step out of my comfort zone. Although I didn’t follow a rigid set of technical rules, I frequently adjusted my ISO and aperture settings, experimenting with them to adapt to the changing lighting and composition of each shot.

  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...