SPN Instructions 21 and 22

First off, I have just had a mail from Framer's Intent (admin on the SPN project) saying:

We are giving a talk about the SPN Project at the Format Photography Festival. We wish to show a slideshow selection of the images shortlisted in past weeks by the photographers who have given Instructions to this Project. 

Of which one they want to use being this one:

Great stuff!


Back to Instruction 22 by Nick Turpin which was

Be aware of the way the camera compresses a three dimensional world in to a two dimensional plane and use that to your advantage

Ok.  I guess they're clever visual puns when done well, but I suspect its difficult to capture 'classic' street photographs using this approach. Well I was away last week as it was half term.  I had the laptop with me but no way of downloading images so did not submit, but I did make a few attempts at this instruction.  See below:

Then this week's instruction is by Polly Braden is

Pick a spot, stay there for an hour and see what unfolds

Her portfolio makes good use of space, the environment and the subject makes up a small space in the frame. I thought this was a really challenging brief.  On Wednesday morning I headed to Keswick, I purchased myself a bucket-sized cardboard cup of latte and piece of chocolate crispie cake, and sat outside the cafe, camera in hand for what felt like a long time.  I find it so very very difficult to stay in one place, and whilst it was sunny, it was freezing - I was trying to levitate above the metal bits of the chair.  For a Wednesday morning, off-peak, there were actually a few people about.  But, whether I'm lacking originality or an 'eye' for it, could I visualise anything interesting - nah.  After an hour I had these...rolling eyes...

So I sacked that approach and tried to find some action, but still I was left with 'nowt. I tried another location and waited a bit and got this...

and then got bored waiting and got this on my way home...

Well, all pretty crap so I won't submit an image this week and will try again with a spare hour in the summer!!

However, I'm not too downbeat, I have today finally completed my last two sittings for assignment two...exhausting. In some ways these two were the most crucial as I really wanted to include them in the set...indeed it took me a while to pluck up the courage to ask them...and one of my film holders made quite a scrunching noise today so I'm hoping I've not done something stupid. So my box of 5x4 images will soon be on their way to Peak Imaging. Hopefully, with assignment four done and assignment two only a few weeks off I can get closure fairly soon on both of them...honestly!!! My tutor I'm sure will be waiting with baited breath...

Street Photography Now Week 20

Missed a few weeks now.  I did submit and then withdrew last week, and every week I'm finding it harder to submit.  The perceived standard in the group is definitely going up week by week or conversely, the more experienced street togs are continuing to submit, whilst those new to it are dropping out as the weeks pass.  I am going to continue as I am still learning loads although, same old complaint, just lacking the time and the quantity of people for opportunities to photograph.  As Spring comes, I'm sure I will have more luck. I do feel out of practice and need to build up to it again. I still want to pursue the rural street photography 'thing' but I can't force this either.

This week's instruction is by Bruno Quniquet:

Slow down, the next picture may be very quiet and close

This is the image I submitted:

This is taken on the way back to the car after an unsuccessful photo excursion.  I have walked passed this shop window hoping for something going on outside it before.  This wasn't quite what I had in mind, but when I got home and saw them all looking bored and facing the same direction and the ironic interplay with the background, it gave it a little more interest.

I keep having to remind myself "why am I showing this image?' 'what is it in this image that I want people to see?'.  And sometimes I find there is no message or compelling moment so need to force myself to 'edit' severely. But if I use this criteria for myself, it does make for a 'bijou' street portfolio.  So until I improve, I have to settle for 'nearly' moments or images with glaring flaws but with the glimpse of the potential of what might have been.

I also took this on the way home:

Sometimes I know what message I want to convey without having the picture to do it - I guess these are my preconceptions which for street photography really defeats the 'photograph in the moment' type approach. The above image is like that - I think I need to learn patience...again!!

Larging it for Assignment two...

I skipped instruction 17 of SPN to focus on assignment two.  Again, just in case I want to recall instruction 17 in future, it was by Mirko Martin:

Take pictures where you're not comfortable, where you feel exposed, threatened, or morally on the wrong side 

It would have been a touch challenge for sure.


But back to the reason for my post.  To update you on my progress for assignment two, I am relieved to report that there is some, not a lot... however having left the keys for the digital at home and having cranked up the vintage model, I can confirm my speed has reduced to that of snail and energy consumption per picture has rocketed off the scale...


However, don't let that mislead you. My sense of humour has finally returned after several months of unauthorised leave of absence! I'm really starting to feel the magic of this large format camera. I'm fearing it less and whilst I'm certainly still in its awe, I've found myself indulging Ebony with anthropomorphic qualities. We go out on photo shoots together and her presence emanates a sort of authority that I lack!!


It is only a box at the end of the day, but its the nicest one I've ever owned!!


Anyway, I've meandered...I've finally got my first negs and proof sheets back last week. Even processing took me an age to get to grips with...what do I need to ask for so I can view them and what on earth is that on the order form. Well I got it wrong, but after speaking to an extremely helpful lady from Peak Imaging I eventually got a set of viewable proofs. 


My work pre-Christmas amounted to eight images...I know, I told you it was slow...and out of those eight, my success rate was comfortably less than 50%, which sounds abysmal. However, I was strangely pleased that there were some OK shots in there, given the number of potential errors one could make and I was likely to make.  It meant I had loaded and unloaded my film correctly, I had actually understood the settings on my light meter, I had focussed adequately and composed upside down and back to front reasonably well. There are loads of things that are still a mystery, in particular the tilt movement. I understand how it works on a horizon line with landscapes but not with portraits yet.  


Without going in to detail about the actual project which I will save for another post, I carried out four photo-shoots (far too formal a word) before Christmas. Two sheets of film per sitting (can't afford more, the cost per sheet once processed is nearing £10 all said and done - nothing like the coin to focus the mind and camera!!). From the four sittings, I was unsuccessful with two, the other two I have a useable image from each. My errors were not due to exposure measurements, focus or shutter settings which surprised me.  My mistakes were actually due to too much fiddling with the tilt and shift which for this purpose was unnecessary.  Was I pleased with the results? Was it worth all the effort? The project I've taken on for this assignment is designed to be relatively simple given it is my first with the large format camera and may be the images are individually unremarkable however, the print quality of the image and the lighting is way better than anything I've taken with my digital. They have a sort of elegance that I like. I am hoping the images will work as a series where the subtleties will become more apparent.


Since Christmas I've not tinkered with 'tilt' which I think caused the main 'defects' in my earlier shots. I've relied on natural light with no supplementary light so exposures are necessarily long which results in some movement which I think is tolerable. I have redone the two unsuccessful sittings and have completed a further three.  The assignment asks for about a dozen images, which is quite a tall order given the approach I'm taking. And given Ebony doesn't have live view it is many weeks after taking the photos that I find out whether I made any howlers!! I am wanting to put this assignment to bed, so there will inevitably be compromises.


Going forward and taking an optimistic view I am hoping that I have been able to achieve a one in two success rate for each of the recent shoots. If so, it still leaves me five to do if I aim to take twelve. Never before has twelve seemed such a large number!! Looking at timescales and what I can achieve, I think ten is more realistic.  


When I finally get this next round of film sent off and have sight of the proofs only then will I know whether I need to redo any - I really hope not.  After this, I will need to make some decisions on printing. The project I'm working on is a series of images which I think would work best in a book format. However, the book format will result in reduced image quality. So I'm dithering a little. My main concern with mounting is you can't easily retain the order of the prints. In addition, annotating, topping and tailing seems clumsy and less professional. But I will need to come to a decision fairly soon as the costs to print and/or scan are considerable. 


In terms of timescale, I am hoping to complete the photography in the next two weeks.  The printing and presentation is a little unknown to me at the moment, but hopefully by the beginning of March I will have something concrete to submit.

Street Photography Now Week 16

This week the very great Martin Parr has provided the instruction. The instruction is:

Wait for the rain, it makes shooting on the street easier and more interesting

Perhaps the instruction was inspired by his book entitled Bad Weather.  Rain and bad weather are synonymous with the Lakes, so this shouldn't be a problem.  And I must admit in the half hour I had when venturing out, peoples expressions are more animated and their awareness of others reduced.  I will be trying this again when time allows.  I'm out of time this week and the forecast is, ironically, for full sun.  I sort of snatched this image, but it somehow fits the brief.  Looking through the pool this week however the standard seems to have gone up.  There are some corkers in there!

Street Photography Now Week 15

Just to recap where I am with this project.  Instruction 11 was the last week in which I made a submission.  Weeks 12, 13 and 14 I've missed, but for the record these instructions were:


week 12: look for the stars even in broad daylight: Markus Hartel
week 13: look closer to home: Lars Tunbjork
week 14: show us the aftermath: Maciej Dakowicz


For 2011 I've decided to bring in a few changes. I'm not going to stick religiously to the brief. The value in the project is in getting me out each week from which photographic opportunities will arise. Knowing a little more about the genre and reading various discussions in the SPN forums, I feel more confident now that street photography has less to do with the location and more to do with the approach.  With this in mind I'm not going to limit myself to urban street photographs anymore. It may be blatantly obvious, but it has only just dawned on me that I'm not playing to my strengths. So I'm going to photograph the landscape, countryside, rural views and take the images with the street photography rather than landscape genre in mind. Some examples are below (I think you can click on them to make them bigger):

So this weeks instruction which is the fifteenth was provided by Melanie Einzig:

Wander aimlessly most of the time

I read this in an open way in the spirit I think it was intended, a nice one to ease us back in to the swing of the things after Christmas. Our weekend's jaunt took us to Keswick where we popped up to Castlerigg Stonecircle. The examples above are what I would consider 'street' imagery in a rural setting focussing not on the landscape but on life 'within' the landscape. The third image has an absence of people, however it isn't absent of life or narrative. The first image is my choice of submission, albeit I am well aware of its compositional weaknesses. It is this rural street photography I want to explore further.


NB.  a slight issue I am having with my camera for street photography is how the camera uses the centre for focussing.  I'm finding I'm not quick enough to recompose resulting in too many of my shots being centred. I could change the AF points but I'll still need to recompose, perhaps there is no way around this - I just need to get quicker!!


Post Edit: the top image made it in to the SPN author's picks!

Street Photography Now #11

Again, not much time this week to write up for instruction #11.  Mimi Mollica provided this week's instruction which is:

take to the streets, get political

Mimi Mollica has some very inspiring work which can be found here. What has been nice is his significant involvement and hands-on approach to the project this week.  The picture I submitted is this:

Very early on in the week I decided to upload this image. I like it because it is somewhat confusing! The boys immediate and almost instinctive response to seeing the dead rabbit was to reenact the killing. This response I found quite disturbing albeit not too surprising! A second earlier was the decisive moment, which I missed!  The boy in the middle had his legs straddled pointing his shooter (stick) at the roadkill.  I should have got a wriggle on - I'm kicking myself for missing that shot but still think the sentiment of the shot is evident.  

Street Photography Now #10

I haven't had much time or lustre to consider this week's instruction and I think I've been guilty of trying too hard anyway. 

Photograph like an assassin; suddenly and silently

Osamu Kanemura provided this week's instruction.  I went to Carlisle, priority one was shopping, but diligently I carry my camera around my neck semi-permanently, so took a few opportune shots when the students started marching - pretty tame here compared to London. But it provided some interesting photo opps.  Slight dilemma in terms of where to the draw the line between social documentary/street photography. So this is my submitted image.

 

Rural Street Photography

Rural street photography is a new one on me but a term I know I am going to like ... a lot!  Siegfried Hansen (this week's SPN photographer) recommended we should take a look at the work of Kate Kirkwood with regards street photography outside of cities. I am so pleased I did as her work I have found to be very exciting in a number of ways.

I looked through her recent work on flickr and liked her approach to her 'rural' street photography.  Her style was fresh with a distinct eye. Inspired I then popped over to her website. To my surprise she resides in the Lakes and Gallery 1 gives you a flavour of her interpretation of the landscape.  Her work morphs street photography with landscape photography which is a strange combination.  

This is the first piece of work I have seen that has a sympathetic, genuine and unique eye in photographing the living landscape of the Lake District.  For many years, I have seen so many images that show what the Lakes is famous for - beautiful images of a beautiful landscape (I have taken many like this myself).  But imo (and I very much include my own landscapes in this) very few share a truly unique or distinctive voice. I don't wish to be negative or disrespectful at all. Perhaps because I live here and am not wishing to 'relive' holiday memories, I'm looking for more from an image than the stunning scenery. I have found so few images that have cut through the physical beauty of the Lakes to its core.  I really feel that Kate's work does and this inspires me.  

To provide a bit of blurb from her website

I am a photographer working from a farm base in the Lake District in England. Learning to take photographs has been something I have done in the between times, inspired by the environment I live in and by poring over the images of celebrated photographers. In March 2007 I was invited to present my work-in-progress to a workshop on street photography at Photofusion Gallery in London, as an exploration of the possibilities of 'rural' street photography, and later that year I set out to accumulate a serious portfolio after a photograph of mine was selected as one of the final 40 in Tate Modern's 'How We Are Now' competition. That image can be seen in the Tate archive here, and in Gallery I on this website.

The other aspect that interests me is the term 'rural' street photography which somehow legitimises street photography in rural areas such as the Lakes.  For me a creative door has just opened...


Note: I can't help feeling the more great work I see, the more I feel I'm wading through mud or drifting away with the tide in terms of where I would like my own photography to be and where it actually is...stick with it, stop being negative, keep trying...I need to take heed of the advice I am constantly giving the kids!

Street Photography Now #9

This week's instruction is quite fun and addictive, because they can be found aplenty. The instruction is by Siegfried Hansen.

Play photographic poker. Look for a pair, two pairs, or three of a kind

In Siegfried Hansen's photostream there are many examples of this and he has done it with simplicity and irony. Again, in the ilk of Matt Stuart and Nick Turpin. Infact, with my limited knowledge I am beginning to identify at least two 'leanings' within the street photography genre. There seems to be those that pertain to the black and white aesthetic, with the characteristic high contrast, atmospheric, moody drama commonly with motion blur.  Perhaps in the style of the original greats of Henri Cartier Bresson, Helen Levitt and Walker Evans. Then there seems to be a good few photographers featured on In-Public that have predominantly adopted the colour aesthetic similar to that of Joel Meyerowitz which I think has a slightly lighter approach focussing more on the irony than the mood. But I don't know enough yet about the genre to understand why or even if this is the case. Personally I prefer the colour aesthetic and this is what I am working on. I am guilty of desaturating when the image doesn't work in colour - which isn't really a good reason to go for black and white.


This week I'm undecided on my submission. As in previous weeks, it's so difficult to achieve the quality of the photographer providing the instruction. Their images make it look so easy!!


Option 1: three of a kind - I like the mirrored posture and his incriminating hands and facial grimace. However, there's only one real person and he's fairly static.

Option 2: one obvious pair, plus a few others - I love the vibrancy of this but whilst the two women make a pair with their head scarves and the other with the bobble hat making three of kind, the characters just don't seem as interesting as they could do had you not known what the instruction was.

Option 3: 2 pairs - I think graphically this is fairly strong with a certain juxtaposition between the mannequins and shop assistants. So it fits the brief and can sit within the street photography genre.  But it doesn't stand-up when I ask myself 'and why is this interesting?'

Option 4: 4 pairs - this isn't a serious contender.  There are four pairs but quantity doesn't beat quality!!

So these are my options. Oh the sheep one btw I have discounted for being too rural and not including a person!! The fourth I've ruled out too. I can't decide between the other three. None of these three have everything I would want to see in an image.


I made the mistake for instruction #7 of my message being too subtle. However conversely, I think there is also the danger of intepretating the brief too literally. What I mean by this is a photograph can technically fit the brief. However, I think this sort of misses the point on two counts. The first is it doesn't really embrace the street photography ethos. And secondly, my intention of participating in this project is to improve my street photography, using the instructions as a springboard and not as an end in itself. However, putting it in to practice is another challenge altogether.


I think I need to sleep on it and then decide!

Street Photography Now #8

We have been spoilt this week with our weekly instruction as it is from Matt Stuart. I just love his work. There is a good interview here.  His work has a light-heartedness to it with a real sharp wit and humour. It just appeals. But I'm not the only one, he is one of the most talked about street photographers of the moment. And clearly inspires many. 

Just as an aside, a guy on flickr posted this video of Joe Wigfall in action, another street photographer. He has a really refreshing and polite approach to his work.  Liked it alot.

So this week's instruction is:

on your knees please...take a picture from floor level

Yeh, I like this one. It screams at me - kids, take pictures of kids, see things from their level. However, this week I have been relatively impetuous and uploaded this image within a couple of days:

I knew my Wednesday slot was out this week and I also looked through the pool and saw lots of people's legs, shoes and concrete and wanted something a little different.  At the Christmas lights switch on, I took this one of the nearby stalls.  I liked the colour and the slightly different subject matter, however, I have liked it less as the week has progressed.  It lacks the trademark humour of Matt Stuart's work and whilst there is a person in the picture, she doesn't actually contribute anything additional to the image.  So I've learnt quite a lot again this week largely at my own expense.  However, I am driven on in the hope that I make the shortlist once again sometime in the future, but unfortunately I don't think it is going to be this week!!

Street Photography at night

Here is my dilemma.  I have had two opportunities to photograph at night.  I didn't want to take my flash as it is so intrusive and crude at night. And a tripod goes against the grain with street photography. So I whacked my iso up to its maximum 1600, stopped down to the minimum of f2.8, put the shutter speed on to 1/80 to ensure the shots were not too wobbly (with hindsight, maybe I should have gone for 1/60 or 1/50).  But unfortunately the noise is in my opinion excessive and detracts from what could have been fairly good images. So what do other street photographers do when they shoot at night?  Do they use flash, faster lenses or don't they? I think probably flash is the way to go...damn...

These are the shots...inspired somewhat by the awesome Matt Stuart and Nils Jorgensen.

Street Photography Now #7

Oooh, struggling this week and lacking lustre. I find to carry out this weekly instruction I really have to step up in to the zone, a good deal out of my comfortable milieu. Just didn't feel like it today. It's been absolutely piddling it down and blowing a hoolie all day too.  And I'm tiring of not finding enough people and therefore interesting compositions, but I'm now convinced this has to be good training.  I'm hoping instruction #8 might be different as I have two or three things going on this weekend that might give me some more interesting opportunities.

The instruction this week is as follows:

"When you have to shoot: shoot! Don't talk!" - Il Brutto

Make a picture containing The Good, The Bad and The Ugly - Jens Olof Lasthein

This instruction feels like two different briefs. Again, there has been a number of literal interpretations of the brief in the pool with many photographing a 'trio' of people, things or a combination of the two.  I too have some in my shortlist like that.  Others have considered the Bruce Gilden 'up close', 'in your face' approach to be what Lasthein is after.

I was not familiar with Jans Olof Lasthein before this instruction.  His website is here and there is a good interview on blackdogcollective.  There is an interesting quote taken from this interview here:

This was one of the first pictures I remember making me realize the fantastic possibilities of photography to combine realism with imagination, everyday with adventure. Caught in the right moment a situation can contain the heaviest and the lightest in life. I always try to keep that in mind.

I think this gives a good indication of how he approaches his own photography. You could argue that the large body of his work falls within the social documentary genre as he addresses his work with political and environmental issues at the fore.  However, his approach is more akin to a street photographer:

I work rather much in the tradition of street photography meaning I walk a lot, meeting people, photographing them, staying together with them, sometimes 10 minutes, other times days. The most difficult thing working this way is to keep alert, and maintain the belief that just what I´m doing right now is the most important thing to do ever. 

The way I have approached this instruction lacks the gravity much of his work has. There are no social, political or environmental issues inherent at all - it is blatantly shallow I'm afraid. I have taken the shot, not talked or asked permission as suggested. And I have gone for a subtle aesthetic, possibly too subtle but I sort of like it - just don't know if others will too!  Here it is:

Eh? That's the response I got at home.  Yes, should have gone to specsavers!!!  My interpretation is this: The shop frontages take up half the frame each, like ying and yang. Black and white shop frontages - the white bridal shop frontage being the good, the black shop frontage signifying the 'dark-side' or bad and the lady's jacket, flamboyant as it is, is a fusion of black and white, a metaphor of the good and bad that is the human condition. And the jacket, dare I say is, questionably ugly??  Not sure if this take on the brief is too oblique or crap. Best I could do... 

Street Photography Now #6

Instruction #6 and still going. Infact I had a little confidence boost last week as my instruction #5 photograph was *whisper* shortlisted by Wolfgang Zurborn. Whoah...I'm saying it quietly just in case he changes his mind!! I'm hoping it's not just beginners luck and that that'll be it now for the next 47 weeks! 

The difficulty I have and I don't want to hide behind it, is the lack of people about on Wednesday.  Mornings are virtually a right off which leaves Wednesday afternoon.  Weekends would be a whole lot better but family commitments come thick and fast both Saturday and Sunday.  I guess by taking it on this way, on the occasion I do go out at the weekend it will feel a lot easier.  

This week's instruction is provided by Artem Zhitenev (his blog is here)

never overlook a cliche

Right. Quite broad, but may be harder because of it. This link, this one and this one too alight to what can be considered cliche in photography and street photography terms. Ironically the night before I was reading this article on the Freeman View about cliches.  Don't think there is a part two yet.

And on reading these, you would have a tougher job 'overlooking a cliche'.  You could infact consider almost everything to be cliche by the very fact you are photographing it. And as a relative beginner to all this I came to the conclusion that more than likely my images would probably fall in to the 'cliche' category without trying too hard. I know many of the more experienced guys have interpreted the brief to include as many cliches as possible. However, the brief in my opinion and given my ability does not suggest squeezing every last cliche in to it.  My intepretation was to tackle a cliche head on and make it my own. 

Looking at Zhitenev's work, (there is a video here on how he approaches his work). His way of working appears more aggressive than the photographs suggest.  He, like Gilden, uses a flash for his portraits and he too 'tails' people somewhat.  However, his results are more playful and he himself says he engages with his subjects, talks to people so there are some images where there is direct eye contact with him.  I'm not sure which lens he uses but it must be fairly wide as on some I have seen a little bit of lens distortion on the edges. He also seems to enjoy lighting and shadows with quite a few examples of this. 

So I came up with an image in Keswick that fit the brief, lots of cliches. I waited for people for a while, got a few with people on, but somehow it just lacked something.

So I sacked this one.  The one below is what I submitted. Graphically it felt stronger, I liked the colours and lighting and it also fits the brief. There are a few cliches in there too...



Street Photography Now #5

Why is it every week we get the brief I think 'oh, that sounds better...'  Then I try and urgh... it never is... I either complain of not living somewhere more urban, it being too quiet during the week, bla..bla..I'm boring myself just writing it. 

So this week's instruction is provided by Wolfgang Zurborn. There is an article about his work here. In summary, he views urban signage, clutter and 'noise' as colourful 'visual collages'. His instruction is:

Get lost in a thicket of signs and structures

I was very aware last week how important it is to stick to the brief and also that photographs can easily fall in to the 'documentary' category rather than street photography. To fall within the Street Photography genre, there are certain 'requirements' such as irony, juxtaposition and viewing life without a political or social agenda (see this article on 2point8).  What I have discovered this week is that sometimes you can mentally compose a shot but may have to wait for 'something' to happen. I recall Matt Stuart saying(sorry, I can't recall where) that his front cover image of Street Photography Now resulted from over half an hour of waiting for a pigeon to walk across his line of view!! Up until now, I have ambled slowly around until I see something.  Today, I spotted a location, I stopped and waited.  This was the location I chose:

I liked this location because the man on the poster is looking down at the roadworks and there are signs, disruption and 'mess'. I waited a bit...and then a bit longer... but I kept getting people passing by with no links to the roadworks or the poster. I got bored and abandoned the idea and went to find something else....

...then I looked back and saw a man inspecting the hole with great intent.  I stopped, waited...and he kept on looking down the hole. So I pegged it back to the spot where I was, hoping he wouldn't go by the time I got back... I started to snap.  I got this one...

Chuffed I was, both the poster model and the man are looking at the same thing.  I like the fact that the appearance of the man is somewhat different to the model and he is wearing a cool t-shirt (difficult to see this size).  Then I looked in the top right of the image....printed on the window is 'more choice..more sizes'. Fab. I stayed a little longer and took this...

Yikes...a man walks across my plane of view. Clearly he wasn't happy at my snapping... however, looking back at this image from the safety of my frontroom he makes a great addition to the image, although I must admit I wasn't as aware of his gaze as I am now! Gulp!

So, with the relative 'thicket' of signs, advertisements and roadworks and the dynamic between the three men I am quite triumphant with this image. The shot with just the two men is better composed and preferrable in many ways, but I submitted this last image instead as I liked the 'something' the third man contributes to the image.....

Post Edit (08.11.10):  Just found out that Wolfgang Zurborn has shortlisted this shot as one of eight favourites...pause...just picking my jaw off the floor!!!  See this link here, this is what he said:

The three characters, two real persons and one model on an advertising poster are interacting like in a theatre act of real life. There is a tension between the different kind of men in this photograph. The cut-out from the public space is very good used to support the dramaturgy of the scene.

Top Bananas!!!

Street Photography Now #4

I am aware there is a certain amount of debate about the book and this project.  I don't really want to comment on this as the book has yet to arrive and I am still enthusiastically participating in the project four weeks in. I am learning so much in a field I previously was not at all interested in. It slots neatly within the context of my social documentary course and I'm finding it really helpful having a weekly project. 

And also, it is really useful to be among others who are also doing the same thing, seeing how they have interpretated the brief.  It can be quite a solitary occupation normally. This week, due largely to the unusual brief, there has been even more interesting discussion, opinion and diverse interpretation of the brief. This debate is really helping me define the genre of street photography and also the importance of adhering to a brief. 

So the brief provided by Michael Wolf is:

"Document some evidence of human ingenuity that would otherwise go unnoticed. Do it without including any humans in the picture"

There has been quite a lot of discussion as to whether Wolf's work falls within the 'street photography' genre, what should be considered human ingenuity and what then is unnoticed.  From my limited knowledge street photography does seem to be less 'project-led' than other genres.  Whereas Wolf's portfolio on the other hand works by theme with distinct pieces of work. I haven't seen this with other street photographers the same. Work such as Hong Kong Back Door does sit neatly under the SP umbrella whereas some of his other transparent cityscape work less so.

Whilst his portfolio is interesting, bold and varied, I also find it somehow remote - I guess this is probably to do more with geography and subject. It also has a different humour to previous photographer portfolios. I may be wrong but I am sensing that the quintessentially British trait of self-effacing humour is a seam that runs through its street photography too.

In addition, the brief has been tricky this week (well, they all have in their own way).  The dilemma is, if the subject (non-human) is ingenious, you tend to know about it such as a wheel, phone, umbrella and if you haven't noticed it, it tends to be rather unphotogenic such as drains, pipes, telecommunications!! And as soon as you photograph it, it becomes noticed!! Then take out humans and put in the human element and make sure it is comfortable within the street photography genre and suddenly you have a very a tricky brief, a lot of boxes to tick and tough challenge on your hands.

So I haven't had dedicated time this week as it is half term.  But I have three options:

Attempt 1

...ingenious, probably a matter of opinion...unnoticed, probably by many...quirky, yes... humourous, a little...fit the brief, sort of...

Or this, attempt 2

...unnoticed by day, ingenious by night... could be considered 'street' photography... more invention probably than ingenuity...fit the brief, only just... bit of dull pic though!

Oh, I sacked the third...too random!!

I went for attempt one as the image I think is quirky and a bit more fun than the second. It aroused questions with me.

Street Photography Now Project #3

This week's instruction was from Nils Jurgensen.  There is a profile of him here. In his blog, he describes his photography as 'showing the sad, funny and peculiar in everyday life'.  And true to form, his instruction for the project is:

 Take a bus. Do weekly shopping. Pop into a public loo

Jurgensen's work was not familiar to me before this challenge, but I like it.  Infact, I really like it - it appeals to my sense of humour.  His approach seems to have a slightly more delicate feel than the 'in your face' approach of some of the New York based street photographers. The humour is dry and he seems to take a more 'observing' rather than 'interrogative' role.  It is less about 'who' he is photographing and more about the 'irony' of the situation in which his subjects find themselves. This appeals to me and I can, actually see myself 'enjoying' approaching street photography in this way.  

I have been 'hanging' around bus terminals, shopping precincts and supermarkets as well a little loitering around the odd 'loo'. And in the process I have learnt that within the moment you press the shutter button, the photographer's eye is sometimes unable to digest the whole picture and that after the event there may be more to it.

I have uploaded a couple of shots below that I felt fit the brief:

Asda has just opened and people have been flocking there as if a new Harvey Nics or Selfridges has opened - it was heaving. I was drawn to taking the above picture initially because I saw the two rather than one over-filled trollies, mum and daughter looking so alike whilst man in car had to wait patiently.  Then when I get home, I look closely and I see she has the keys in her mouth - fab - that made the shot for me.  This is the one I submitted.

This shot above was my second choice. As a thumbnail it lacks impact I think.  However, I like the 'juxtaposition' of this shot. The older folk are relaxed, chatting and interacting as adults, friends or merely as fellow bus travellers do. The younger lady stands alone, communicating on her mobile in her own cyber world.  I also like the surveillance camera sign above that is pointing at the queue of people.  Somehow, this picture sums up my fear of technology today - and I'm equally guilty of living in the cyber rather than real world!!

Street Photography Now Project #2

This week's quote is:

"Turn your attention to the four-legged population" - Ying Tang

OK. I've decided to do a little research on each artist who provides the quote each week.  Not extensive, but I found the whole Gilden 'thing' last week a real catalyst as his approach is so extreme, particularly having studied that of Helen Levitt, who was far less 'in your face' than he is.  Perhaps the acceptable level of 'closeness' to the subject has altered since Levitt was in the streets.

Ying Tang, again works predominantly in black and white, which seems to be the favoured format in street photography.  It may tell a stronger story but personally I find it a shame as I love the eye-popping realism of colour. There is an interview by The Invisible Photographer on her work here. I found this quote particularly interesting:

How does it feel to be a female street photographer in Shanghai?

Just like in any kind of career, being female sometimes make it unique. I think especially with photography, people tend to be a bit more relaxed if they are aware that the photographer is female. And if your subject is a female herself, she will feel less hostile against you. My point of view as a street photographer may also be a bit different to a male photographer’s. I am a bit more focused on details, and I have a lot of pictures of dogs and kids. Maybe that is a female instinct. I don’t know, I just like shooting what interests me.

I was drawn on one level to review Helen Levitt's work because of her subject matter being amongst other things children and animals.  And I wonder if there is any truth in this statement from Wing Tang. It isn't something I've thought about before.

I found it considerably easier finding animals and their owners to photograph, although more were with 'consent' than 'candid'.  I have also decided that for this particular genre of photography my Wednesday 'slot' isn't right.  I need to get out at weekends to find the volume of people.  But personally I have all manner of family commitments so it is much harder to find the dedicated time. Alternatively, I may have to take an occasional day out to go to a city where I can work intensively for a day. 

This is the image I chose to submit for this week's quote. I'm slightly less ashamed of this attempt than the previous weeks!!  Still not exactly a decisive moment!! I haven't time this week to edit and post the others. But photographing animals is clearly a 'gentler' opener to street photography than Gilden's!

Street Photography Now Project One

I have decided to have a go at a challenge called the Street Photography Now Project.  It will run for 52 weeks and there will be a challenge set by respected photographers each week.  It sounds like a good opportunity - I think I'll have a crack at it and try and develop my street photography skills.

This is the first challenge by Bruce Gilden:
 
if you can smell the street by looking at the photo, it's a street photograph

Good Quote!!
 
It was Helen Levitt who said: "You have to go where something's going on". It sounds really obvious doesn't it, but I'm struggling to find anywhere with enough people or enough 'stuff' going on.  It's Wednesday, I live in a village with less than thirty houses, there are a number of small-medium sized towns such as Cockermouth, Whitehaven and Workington fairly nearby but it's just so quiet today.  

After a day in London it dawned on me how much more satisfying candid photography is when there are more folks around. West Cumbria is predominantly rural and it's harder to find 'something going on' from a street photography perspective!!  Can 'country lane' fall under the 'street' category?!?? It jusn't doesn't fit the genre does it!!

I'm going to pop out again this afternoon. Where else are there people? Helllooooooo.....

I'm back.  I have a few mediocre images from today but nothing even nearing the lofty heights of average!  And the ones that I marginally prefer are without people.  Now I've had a look at Bruce Gilden's work - how cool are they!! They really are 'up close and personal', 'in your face' and invasive almost. Now I am intimidated. I could get that close if I asked maybe, but how does he do it?

I feel embarrassed posting my efforts up from today now, but it's important I guess to benchmark my own progress and critically review my efforts!! How depressing...look...

Here's a couple of examples with people .... it ticks one box, but is it edgy and is it the 'decisive moment' ... nah 

Here is a person doing something, a little bit of narrative, but there is no facial expression or overt interest in the image.

Here is a bit of person, a tad arty but no mystery or interest again

Then there are the ones with no people in that I kind of like. 

This is a den that some teenagers I would guess have proudly created for themselves.  I like it as it is a little unusual, however it would be strengthened if there was some sign of life.

As part of a documentary project of Cockermouth's recovery, this would have legs.  The foreground provides evidence still of the flood waters and debris.  The housing is empty sheltered housing next door to demoliton work.  But as a thumbnail with 300 other shots - ain't gonna work!!

And then there are these. I like these because they are vaguely humourous but not for this project, this one needs to be viewed large really.

I need to choose one before tomorrow's deadline.

I did try hard today and I must try to focus on the positives. And I am always my own harshest critic. It's week one for goodness sake!!  I tried a few different things, approached some strangers, talked to others, did portraits of a few - so that's progress - I'm quite shy. But hell, this is Cumbria, not Brooklyn - photography skills apart, the opportunities are far from frequent. So I either need to spend many more hours on the street or I change tack!!

Here are other people's submissions for challenge one. Not sure which one to submit yet!!