The day of “the dragon”

Sydney May – August 2014 (a story in 7 photos)
#1: Attention, this is Number 1. We know “the dragon” is in this area. He is armed with his camera and he is very very dangerous. He is a menace and I want him neutralised at all costs. Find him now. NOW!!!
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#12: I’m moving into position, Sir. He won’t get past me.
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#9: All clear in this area, Sir. Wait!!! I can smell almond croissants. I sense the dragon is very near.
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#42: No sign of him here, Boss. He wouldn’t dare appear before me. I dare him to try and shoot me.
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#86: Chief – We’ve found him! Send back-up immediately! He looks so fierce, yet so debonaire and handsome.
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#1: Excellent! There is an “asset” in your area. He’ll be there in 30 seconds. Don’t let the dragon escape.
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#1: All other “assets” immediately proceed to number 86’s position. Show the dragon no mercy.
(Asset = assassin, in spytalk. Reference: The Bourne series)
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#99: Max! Where’d he go? I only blinked and the dragon has disappeared. Number 1 won’t be happy.
#86: Ummm, Chief. We missed him by that much. Sorry about that.
#1: This organisation does not tolerate failure, 86. “Assets” – you have a new target: Get Smart!
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Look out for the next instalment of this saga, “Attack of the Fembots”. Scheduled for 2015. …
My modus operandi is to shoot close with a prime lens. I used a 35mm lens for photo 2. All the others were with a 50mm lens. I use a manual zone focussing technique which means I can take my photos from chest or hip level***, from directly in front of people, and not be noticed. Almost all my candid shots are taken whilst walking. I accept a little motion blur if it means capturing the moment undetected. Sharpness helps, but it isn’t everything in candid street photography.
*** Over at the WordPress Weekly Photo Challenge, the topic is Angular. To quote the author of the challenge: “Angular also offers a chance to shoot from an entirely new perspective: from above, below, or even from the margins of the fray. Above all, have fun!” I hope this includes shooting from hip level.

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