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CRITIQUE FEEDBACK FORM

NAME: Catarina Belo

PROJECT: Corners

DATE OF CRITIQUE: 27/11/2017

TUTOR(S): Sana Bilgrami

VERBATIM TRANSCRIPT OF FEEDBACK:

Sana: What you felt work and didn’t work in the film

Cat: For me it still needed a lot of work and  editing, specially in the beginning with the grassmkarket. I talked with Tina  and she told me something about it that made it visible for me; that it came  back and forth and sometimes we added shots that weren’t needed and that  sometimes we didn’t engage because it was a more broad atmosphere than just  these particular stands. We did try to work a lot with it and we did try to  bring a random rhythm to it that’s why we used it so often but I feel that  I’d have done in a different way. And also I think, the end didn’t really ended  up being as good as we wanted to because there was some complication with the  footage that I feel it concluded the movie. It was a couple of shots of  alleyways at night and it was filmed but kinda disappeared from the card so  it wasn’t there and it was the day before the deadline so we had no way of  doing it again because it had to be filmed at night so those two alleyways  were missing I think they draw the conclusion. But besides that…

Michael: The thing I’m happy about with, basically  Cat covered all the things that were problems, but I’m happy to just how  differente the places feel. I think the atmosphere comes across quite well.

Cat: Yes I think we feel what we felt when we were  there which is what we were going for

Jennifer: Yes I agree with them. I feel that the  grassmarket missed some great conversations that I thought we were gonna use;  there was a greek guy talking about being a painter…I was waiting for it and  I didn’t see it but that I was just (?) But I was really happy with it

Cat: we had a lot of really interesting things from  the grassmarket in general. But at a certaine point we just had so many  conversations that we had to cut some of it out. Honestly we could have done  a docuementary only about the grassmarket because people were so open to  participate and to talk and all were really nice. But I agree with you, there  were creatine things that we could have put that were quite nice.

Holger: It took me a wee while to remember what this  was. The reason why I didn’t recognize it straight away; I think it was, how  to start, there was some…there were 4 films let’s say it that way, the  market, the bookshop, the housing state and the musicians at the end.

All: there was the café

Holger: is it a café? For me there were too many.  Because the style was not unique. You could argue that the places were all  different, but I think that a continuous style of the way shooted, then the  diversity would be much clearer to find. I thought in the third one you  finally eased into the style because you had lovely observations, there’s a  guy in the garage; there’s a…you really…it wasn’t just an uninformed looking  and leave it to the audience to find their way to see what you see; you  really, cinematically you made a choice.

Cat: You mean Dean Vllage?

Holger: Yes. I think captions wouldn’t have been a  bad choice either. To really separate the kind of different sections. To set  you up, again. But there I think you found really a visual voice. And in the  beginning; I like markets, and again, I think the soundtrack was not very  distinguished. I was always trying to figure out if it was interviews or  ambient. The cinematography was also; all the heads were chopped off, which I  thought, that’s a very short cinematographer; so I had a distinct…and I liked  when I saw a bit more, when it wasn’t to fragmented. There was big pot and I  saw someone cooking and I see detail, I see they’re making something, they’re  putting ingredients on, they are stirring, so I follow a process, so allows  me as an audience to say, ok that’s how they do it. And then I an use my  interpretation of what I see and then it joins into one story. And that’s  what I think made it really hard for me in some places to engage with the  sections. In the end there was one about, the music, the forth one, you show  me a cover of the beatles, you show me what’s on the wall, but I couldn’t make  it to see the links, I think, I always need a filter from the director, a  formed decision, because that’s the most difficult bit. I remember that you  wanted to share with us what you found so unique about those places, right?  But he filters were not enough for me to appreciate or disagree with what you  showed me. I was waiting for, here comes the detail, or here comes the extra.  I was left kinda of hanging. You know? It was a kinda off endless journey,  and offerings, whilst cinematically making choices. But generally I liked  this, because I don’t know Edinburgh very well, and, the bookshop was  interesting too because some of it was absent of people. So the first one was  kinda busy and then suddenly I’m in this empty space were there’s nothing  happening. And then you have a wide shot which is a shame because I think  when you stay close you also emotionally stay close. It’s always a bit of an  anti climax, an empty shot. Because you make a statement here, you know? Oh  there’s nothing happening, so you ask questions but they’re never answered.  But I also think they’re all places were communication takes place, but there  was very little communication, specially I’d have liked at least one bit of  conversation per place between the people. Like a very distinct ne, that  shows exactly what made your heart jump. When you made the choice for this  market. Again I like outdoor markets but, for example there’s this shot of  both hugging and I was like, hmm ok but it didn’t really gel for me.

Cat: Yes it didn’t make sense.

Holger: If you stay in this kind of tightness.  There’s already a kind of personality within there but you could have pushed  a bit more.

Sana: I think with the grassmarket, I feel that  there was a lot of work you could have done, I really liked the bookshop sequence,  that for me is the one that works the best. And followed byt that the dean  village sequence. The courtyards, and the washing hanging. I felt in the  bookshop I was being, I had a sense that I was having a glimpse of what it is  to be there, which I think is what you wanted, and that the openness of the  courtyard shows possibilities of all the different moments, all the different  places that can happen in this space. With the grassmarket sequence I think  your problem basically lies with sound. The sound isn’t right somehow.

Cat: I think we stuffed it too much. I was trying to  bring all the sounds I heard there…

Sana: I think it’s the monologue sounds, it’s too  fragmented. I mean it’s either completely fragmented or not. Because we hear  that one whole conversation and then there’s one more we hear in the bar at  the end of the film. Neither of which had, there was not kind of revelation  in them. I wonder we hear the whole thing in the bar. Then there’s the  Tibetan café, which works better than before. You created the space. For me  what I felt throughout the documentary was to feel like I was in these  different spaces. The bar I think it was the weakest section of your film.  The one at the end. It just didn’t work. The still shots, the visual  installation. We didn’t need to see the space. So from the courtyard you  takes to this visual experience and then obviously the ending is way to  abrupt. So there’s a big question mark of, what is this. The final thing. I  still withhold to what I said before to what it said. This movie would be, a  different one of what you wanted to do obviously, but another layer of  meaning, something that links, a thread that takes us through the film, would  hold it together I think. That extra layer would have been for you to find out,  it could be conversation, soundtrack in each location. Consistence in  something that would link all the locations.

Cat: Yes. When we were editing, we tried to go  against a cohese thing because, as you said, we were trying to go for a  visual representation of each place, and I agree it didn’t work out as a full  narrative, I felt that every time that I was watching it, but I honestly  didn’t know how to solve it, baceuse I’d have to loose that personality from  each place, so I wasn’t entirely sure of how to do it, and even with sound I  think we made it quite confusing in the beginning and then we decided that by  making it quite abrupt it would make it quite unexpected so we could play  more with the randomness because since we were not doing the same thing from  the beginning we thought it would work better to play more with it and make  it more abrupt and dynamic, since it wasn’t cohese, so we could mix it all  up. But it needed a lot more work. I agree

Sana: It needed more work. To make that work, It’s  really hard, I mean you guys set yourselves up with really big challenge from  the start. And as you said, maybe you should have just done it about one  place, maybe it should have just been about the grassmarket. You know, maybe  you need to just do that. If you want to revisit the project maybe you should  put this aside and work only on the grassmarket and see what you can do. You  know start with that and then see. Because it feels like you’re in the  process of finding a voice but it’s still in process. And this kind of film  is always about cinematic voices you said and is also about weighting of  moments. It’s something about the weighting of several moments. There’s  something about the harmony of visuals and sound coming together that convey  an experience. To experience something more than the film.

Cat: Yes that’s what I wanted to achieve but it  didn’t work.

Sana: Yes, I know that’s what you wanted to achieve,  that you wanted to achieve that. And you know, it’s possible, you just need  more, I guess it just needs more work, and you just need to keep working,  keep experimenting. Keep going.

Holger: Yeah. And also, was the grassmarket always  in the beginning of the film?

Cat: We played about with it a lot but I think it  was always in the beginning.

Holger: Maybe you should have put it in the very  end. To read a different thing. Because I’m trying to think how you could  conceptually bring all those together you know? And I’m thinking ok, is it  about people in urban environment, you know there’s one that is a spiritual place,  and then there’s food that is kinda the physical wellbeing and then you have  the architecture of being, which is the guy in the garage. So you could draw  it but in way to give a clear visual language in order to connect them. It  can be through sound, through colours, through shapes, and then you’re there.  That’s the biggest process.

Cat: We split cinematography as well so I think t  made a difference because I did cinematography for dean village and the  grassmarket and Michael did the other ones and even though in the other ones  we were discussing I think that makes a massive difference, I think the fact  that two people were doing it.

Holger: Yes, or you are very clear of what you’re  looking for or looking at or something. But it’s always good to challenge;  try new things.

Sana: Brief comments?

Bogu: I just think that for a piece that was so  cinematography based, what was distracting for me was that a lot of shots  were either over-exposed or under-exposed and we were losing a lot of details  and we have the wide shots and the details weren’t there, except for the  bookshop sequence; I really thought there was a prespective to the camera.  And it worked with the sound because a lot of things were muted, like we saw  a person writing but we didn’t hear it. There was a sense of perspective in  each part of that space. If you had that in all the places that would have  made it more coherent film, even though you’d still have different vibes from  every space. But I think in the bookshop that really worked.

Cat: So you mean a coherence between sound and image  in all of them?

Sana: I think what you saying is what I liked about  he bookshop as well. Is that there’s perspective. You feel like you’re  looking through someone’s eye through the camera.

Bogu: It seems that you are a person inside the  bookshop instead of just a spatial thing. The camera was very close which  made it work as well…

Sana: The experience of watching that or feeling  that is very subjective, there’s someone with a view. But then it’s different  in the other sequences. Other comments?

Jack: I really liked the transitions between  locations it worked really well. Then we had a story of a guy at the start  which I thought it was background noise, but it was only after a while that I  realised oh wait I’m supposed to be listening to this guy. So I didn’t heard  half of the story. But then for the rest of the film we didn’t hear anyone  else’s stories. So each time it cut to a person like the guy in the garage, I  always though , oh ok we’re going to hear someone’s story but the we didn’t.  And in the end, I don’t know what it stack out so much, but a guy was saying  that he was trying to write poetry for the first time, and I thought someone  writing poetry is really interesting, but then we never actually got to hear  it. It’s like teasing stories but then you never actually develop them.

Helen: Yeah, I was gonna call on that in the end as  well. It was super abrupt, I felt like it just ended…and th en it took me a  while to understand if I liked that or not and then realized that the  dialogue, sometimes. Like when the guy tells the story, it just seems to end  just before when he’s going to say more and in the café you hear the lassi’s  talking about that they’re lesbians and stuff and I thought that if the whole  film did had a snipit of conversation, like if you’re in the space and  hearing conversations, and change when you go to a different space, it’d have  made it of more interest.

Cat: Yeah, we were missing the alleyways in the end  I guess we needed that to bring closure to the movie.

Jack: Or maybe if you had the conversations from the  grassmarket you could have transcribe them and put in the different places.

Cat: Yes, we had loads of converstaions it’s a shame  we didn’t used them. It was a bad choice I guess.

Michael: Yeah, what Helen said about having snips of  conversation, we were going for that in the beginning but then we ended up  not doing it. So it didn’t come together.

Sana: Any other’s?

Costas: In the pitch you established that your were  going to portray the location as a character theme, which is really hard to  grasp, it’s kind of challenging. But then, specially with the grassmarket  scene I thought it was very people oriented after all, whilst the bookstore  is way more quite and it’s kind of more of the location, and what’s alive  there. The same with the guy in the garage, even though he’s a person, he’s  kind of part of the space and that’s what’s important. So I feel like the  market scene was too people focused and, I don’t know, maybe taking out the conversations  would have made it less so. In a way. And maybe in the café as well.

Cat: I guess maybe we should have gone for either  soundscape, or conversation.  

MAIN POINTS GLEANED FROM FEEDBACK:

More need for coherence between places – visual,  sound

Dean village and bookstore best sequences

Grassmarket and last bar/café worst sequences

Transitions worked well

End too abrupt

Conversations and soundscape often confusing and  misleading, teasing for more but then with no development. Should have  focused either in only soundscape, or conversations, not both.

Often there was a shift between focusing on the  place, or focusing on people which made it hard to establish what we were  going for. Needed more connecton between elements

Needed a more defined visual style to assemble the  scenes between them.

Sound sometimes was messy, too much information  making it distractive.

A feeling of being in the spaces was achieved, specially  in dean village and bookstore.

For people who don’t know Edinburgh very well, was  interesting to see these contrasting places.

REFLECTION:

I agree and had thought of most problems people  pointed out. I agree it needed more cohesion and similar traits, so it would  be a whole piece. I am sad we had a problem with the footage for the last  alleyways as I feel it was needed to close the movie properly. I think the  grassmarket was messy, and we should have made a simpler approach. More  focused in the space rather than the people, which was the initial idea. I  think I got carried away when I was there, collecting information and talking  with people, overlooking the real objective. Dean village for me worked the  best in terms of the vison I was looking for; observational, including people  as part of the space and not the other way around. The same goes to the  bookstore. I think it was extremely hard to find a balance between a coherent  thread between spaces, whilst at the same time trying to bring out their  personality. Often the personality relied more in if it was the “eye of the  camera” or if it was only distant observation, which wasn’t what I intended.  I do have some thoughts now of how to make it more coherent and how to make  more sense out of the narrative. There should have been a more established  visual approach to all places, as well as sound. It was hard to do this with  2 people doing cinematography because, even though me and Michael were  talking the whole time about it when he was filming, I feel like there’s a  big difference between saying what you want and doing it. We have very  different visual styles, so I guess it didn’t work in the end because of  that. Nevertheless, I think we achieved a sense of the atmosphere in most  places, so people would feel what it’s like to be in it. I’m please with the  transitions. I think the alleyways we got worked really well, and were  coherent with each other; because the framing was always the same it built a  thread between them. Next time, I think I need to establish a common thread  in language that will convey all things into one, no matter how different  they are, to make a movie a whole and not pieces come together. I also need  to stop getting carried away by the places and start being more focused about  what I’m looking for. Overall, I think it was a good challenge, which is what  I wanted. Experimenting is key to understand what we want from our work and I  plan to keep trying until I figure out how to express it in a way that works  for me and the viewers. I also feel that we needed much more time to pull out  this kind of documentary, so we could try different ways of approaching it  until finding the right one. My idea for the spaces was also to bring out  each place’s personality through visuals and sound. It was hard to balance  the attempt to do this and a coherent language between them. It was also  often challenging to understand if the space should speak for itself or if  the camera should intervene. Maybe one of both approaches should have been  established from the beginning so the scenes would make more sense between  each other. There’s also some technical errors that could have been avoided.

ACTION PLAN:

The grassmarket needs to be completely re-edited.  It’s often repetitive and I it doesn’t make ones at times. To use a shot,  there must be a reason, and I feel often with some shots in the grassmarket  that there isn’t one.

Re-structure sounds from most places (I’m happy with  the bookstore and Dean village) focusing more on soundscape and not  conversations. I feel like I’d rather pursuit soundscape and focus on  portraying location, than portraying the people within it.

Some re-shooting should definitely be done to  establish a coherent visual language, but whilst also bringing out the  place’s uniqueness.

Add the final alleyways.

Finally, find a thread that connects them all.

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Editing....

So, the process of editing has started. And it has been hard. Me and Michael went through all footage to choose which would fit bet with each other. The three of us (Jennifer) transcribed all hours of soudscape from the different locations to see which bits and pieces would best describe the atmosphere felt in the places represented visually. It’s been a long proecess but helpful to best summarize the sounds needed. The real struggle, however, has been finding the right pace. We’ve been trying different approaches throughout the editing process; first following a line; then “playing around” as much as possible. The last one seemed the most effective as it conveyed a more interesting approach to the documentary, as it relies greatly on sensorial aspects rather than information. Atmos sound will be enhanced to establish this. The background conversations heard are part of the soundscape, adding to it and to the feeling of being there.

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Schedule for shooting days

Thursday:

10 am start:

Nepalese café

Armchair Bookshop

Dunbar Gardens

Sketchy Beats

Saturday:

11 am start:

Grassmarket Market

Dean Village

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Diluição

This is my very first work in film, which i did just before i started this course. I did it all by myself with very little knowledge of technical aspects because at the time i had never learned any of it. So its a really amateur piece. Nonetheless, with all of its errors and misconstructions and bad sounds (so many of them), i think is important to share it in order to show something similar to my inspirations for Corners. Not in the terms of the visual aesthetic, or text used, (as this was a text written by me) but as an example of capturing the “random moments” of the street. Of paying attention to what surrounds us and try to get its feeling on camera.

Hope it makes sense to share it.

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Where i Am Is Here by Margaret Tait

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Where I Am Is Here by Margaret Tait - Loose notes and thoughts

 - Industry: moving things, mechanic things, construction sites.

- Sounds of the city and its echoes: the sounds we hear are not the ones corresponding to the images we are seeing. This is a very interesting approach on how to portrait a space/environment. By adding sounds that are not what we see but could be surrounding the subject that we do see, we get a very complete sense of how the space is. We are able to imagine with much more detail what it’s like to actually be there. I feel like this approach adds amazing sensorial aspects to the representation of a space.

- The assemble of different images of apparently disconnected subjects is a great way of portraying a city. It shows us all the different elements that construct a city. It also gives us a sense that there’s a great number of things happening at the same time, all the time.

- Nature vs Industry – Nature vs people – Nature is everywhere – Nature is life, even in a city.

- Images of ordinary things and moments happening at that time.  Capture of “the here and now”- For example: the images of a man in a room, probably the filmmaker’s. - Ordinary things gain importance if someone pays attention to them and gives them importance.

- Here and Now – here and now is where the camera is; it’s what the camera captures. – Here and Now as ephemeral – Hera and Now as immortal

- Sound of a city with nothing happening (Calm) vs Sound of city with movement (Chaos) – How time alters the perception of a space.

- The montage transgresses the usual conception of time and space. It takes images from their chronological order and “reality narrative” in order to convey a broader, more complete portrait to the viewer of the subject that the filmmaker is representing.

- Film as a truth that transcends space and time: The images represented are the Present for both the subject in the moment it’s being filmed, and the viewer who is seeing them after they’ve been filmed. Film as a dimension of the Here and Now. – Definition of space and time as alterable/adaptable.

- The movie has several shots that convey symbols: smoke, fire, snow as the fleeting/ephemeral. A clock, for the time. And cars and people for movement. – Movement is a good representation of the here and now and of the fleeting moment. It is there for only a few moments and if not captured, it will seize to exist.

- I found the assurance/insurance shots quite ironic. I might have read too much into it, but it seemed like a joke of how society tells people they need assurances to survive when an actual assurance of life is an impossible thing to give.

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Man With A Movie Camera by Dziga Vertov

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Man With A Movie Camera by Dziga Vertov - Notes

- The difference of feeling of a space with people and without people

- Importance of details: gestures, movements, and the awareness of the time they take. Give importance to usually overlooked small actions

- Montage builds the narrative of the representation of life (according to the filmmaker): rhythm, tension, etc. This movie treats images of real life as a mutable material, that can be assembled and changed by the will of the filmmaker. By taking the footage out of its “chronological reality”, montage alters the notion of space and time and adds a new dimension: a dimension of perception, or of construction of meaning.

- What it means to “be a city”: different places, moments, people, lives and routines. Everything is important and everything is dynamic. All of it makes a city, a city.

- The construction of a day in the city so to show the contrast of atmosphere in it: shots of people sleeping, of empty streets in the morning light, closed stores, and lonely windows. Then, shots of people waking up, opening windows, streets filling up, stores opening. The streets in the afternoon are full of cars, trams, people. The viewer can feel the difference of atmosphere and rhythm that all these different times of the day have in the city.

- The man with the camera is included. It is an observational movie that makes obvious that it is being recorded by someone. By a camera. Goes completely against the “fly on the wall” concept.

- Different kinds of angles and perspectives of what we usually see in everyday life as a walker by. Emphasizing the concept that the eye of the camera can reach places that the common person can’t, or is not willing to. Gives us a new way of seeing the city. It also conveys the plurality of a city by juxtaposing different images with different actions.

- There is also often a sense of nostalgia of both present and past. As if the repetitiveness of the routine has something of the past, making that moment of present also its past.

- The use of stills gives a sense of immortalization. It stops time by making that moment forever.

- The use of contrast between wide spaces and details. Of groups of people and one person. It shows that a whole is always composed by many individual things, like a city.

- Life cycles and moments as part of the human condition: life, sickness, death, birth, marriage.  

- A feeling of restlessness/ obsession to capture all moments.

- All elements that “build” a society: newspapers, industry, routines, food.

- The music is added to guide us to the feeling that Vertov wants us to feel when looking at the images. It tells us when it’s a sad, happy, lazy, stressed mood that the images are representing.

- The shot of the huge man with the camera over the building: the eye that sees all.

- The shot of the theatre in the beginning and towards the end is an allusion to reality being a show, captured by the camera and then seen by the audiences, who composed that reality.

Extra notes and thoughts:

-          This movie shows all the beauty that exists in the world if we dare to look and perceive. I identify myself a lot with this way of seeing the world; of paying attention to things no one else does; of finding beauty in all sorts of small, supposedly insignificant moments and actions. This is what I want to include in my work.

-          What we conventionally call reality it’s not a set concept but a mutable truth. There can be many different realities, depending on the perspective and on the moment in time and/or space it’s being seen.

-          Observation is a great power.

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Today i passed by the market in Grassmarket that goes on every saturday morning. I really think it’s a great place to include in documentary as it represents the multiculturality of Edinburgh but also, because it’s all about people. The atmosphere is really great: you see people eating everywhere, chating, basically enjoying their saturday. The smells are great from all the foods, and grocery stands. It’s a very vibrant place, and hopefully we’ll get to talk with someone once we film there! There were also great allyes to explore around the market.

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Sketchy Beans is this amazing place in Leith that holds all kinds of events to include the Edinburgh and the Leith community, from craft arts and exhinitions to music jams. It is also an extremely interesting place full of colours and really nice people who really liked the idea of being in this documentary. It is important to have this space to show a bit of the alternative, less famous, scene of Edinburgh.

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This yoga studio and café was very very interesting. All the projects they do inside are very different and they deal with all kinds of crowds and people. They have a dog named Puppet who does “love therapies” to people. The girl working there was happy to let us film the place, puppet and talk with whoever is in the shop at that point. It is a great place to have in the documentary because it adds a bit of mulriculturality to it, which is important to portrait Edniburgh. It is also not famous at all and really recent.

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Dunbar Garden is really beautiful and quite hidden from the public eye. In fact, it’s not always open and is a bit of a matter of chance to find it that way. Hopefully we’ll be able to film it. We also found a really cool small door on the way there

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These two locations we’re not gonna be in the documentary but were still very interesting to explore. The vodka bar was unfortunately closed and it seemed like a place that might be dfficult to film, as it is only open at night and has usually quite a lot of people inside that might not like to be filmed. The graveyard just wasn’t interesting enough and since we had so many locations already, these both were cast aside.

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Armchair Books. One of the most amazing antique book’s shop i’ve ever been. Full of details and “extra stuff” that make the space really, realy special and unique

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Explore potential locations

We went out yesterday to explore the list of locations we had so far and choose which ones best fitted what we were looking for-

Our list was:

Armchair Books

Dunbar Garden

Polish Vodka Shop (Secret Arcade Vodka Bar)

A Nepalese Centre

Sketchy Beans Café

We also found:

A graveyard near Holyrood

Several nice alleys and corners that we’ll definitely use as “pillow shots” between the locations so to add up to the portrait of the city.

We are still going to explore:

Grassmarket market

Dean Village

From yesterday’s exploring, we managed to understand what we’s be more interesting to use and so far we are including Armchair Books, Dunbar Garden, Nepalese Centre and Sketchy Beans in the documentary. The rest was for some reason either not suitable or not interesting enough for what we are looking for. We talked with people in the prospect locations and everyone was happy to have their locations documented in this project. But we are not yet done with the exploring!

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Concepts

Right now i’m very interested in exploring these concepts for the documentary and my documentary essay. I feel they translate what i want to explore in my work and this documentary

- Movement - how moving subjects/objects like people walking and cars going by, translate the ephemeral; the existence of a reality that is there but then it’s not, making us wonder what is indeed reality.

- Space and Time - the breaking of its boarders and definitions. What is space and time, since it is adaptable. It is both present and past in film: for the viewers is the present, for the subject filmed is the past. And the other way round as well.

- Here and Now- How this is a dimension of space/time itself. How here and now is mutable; It can be whenever, wherever.

- The truthness/ honesty within spontaneaty - How capturing someone or something instantly without a plan or guidance can bring out the most pure form of reality, as there is not time to “put on a mask”

[acatsdocumentaryblog]

“You have to walk into the world and say: show me!”

This is a documentary i saw in the other day, when looking for documentaries that related to mine.

Although the form and approach of the documentary itself was not of interest for my research, the subject was. It is about various street photographers that talk and see the streets the same way i do: goldmines of all kinds of happenings; from sad ones, to funny, to intriguing. Street photography, and in my case filming the streets with no particualr agenda, is all about finding interesting what no one else does. It’s about being able to capture that fleeting moment, thet will never happen again; that would cease to exist if the click of the camera wasn’t there. It’s about exploring and finiding beauty in all kinds of things, in all things even, and going about to capture it with no previous plan. I really identified with the things that all photographers said about life, and it’s capture through the camera. It was great to give voice to various of my thoughts.