Spotted method. Part 3

A variety of spots can be found anywhere on a city street, but I'm interested in interacting with people. That's the whole point of having people be part of the spotty scene.

It turns out to be something like visual noise, which I intentionally add to the frame.

Yes, many of the pictures look clear and even aesthetically pleasing in places.

This series just turned out to be on the verge of aesthetics and chaos.

Almost all photos need to be viewed unfocused and from afar.

But at the same time, because of the variety of details, I want to consider them as closely as possible.

Spotty plots are graphic, but they are the opposite of the principle of monotonous homogeneous graphics.

If in a homogeneous graphic, I also try to fill the frame with details, but so that they are monotonous, monochrome, so that everything merges into a single canvas...then, in the spotted principle of shooting, I need the maximum variety of types of spots, colors and all possible geometric elements.

In a homogeneous monotone graphics, all the elements of the frame are also homogeneous in nature.

In the spotted street, the nature and character of each element are as diverse as possible.

Therefore, it is impossible to make a homogeneous graphic frame in an urban environment with people.

..I've had this stuff since I was a kid...to decompose everything into components, to arrange, to define everything, to analyze, to compare...

Therefore, for me photography is not just a few genres, but in each genre there are many approaches and directions.

And they all differ only in frequency, which can be deciphered as: design, approach, and the prism of perception of reality.

And it turns out that street photography is not just about people on the street.

For me, these are both individuals who reveal their character, and light and color spots, whose mission is to create for me only an interesting patterned carpet.

The viewer, of course, can catch movement and life in some plot...and it is there, but the primary task was to see in the viewfinder only a mosaic of geometric light-color shapes.

To be continued...