back alley
IMAGES
i'm starting to think that i need to establish a more personal connection with people that i want to photograph…quick shots on the street are not doing it for me any longer.
i need some sort of project maybe, that will help me to establish more of a relationship with the folks i photograph.
thoughts?
i need some sort of project maybe, that will help me to establish more of a relationship with the folks i photograph.
thoughts?
Ko.Fe.
Lenses 35/21 Gears 46/20
"Humans of New York".
Keith
The best camera is one that still works!
I think you're on the right track with these thoughts Joe ... the ball is in your court as they say. You're a fairly easy going guy so gaining someone's trust should be straight forward if you make the effort. 
lynnb
Veteran
Think of the interesting people you will meet, and all the interesting conversations you will have. I find a TLR or folder, or any old film camera is much more conducive in this.
Keith
The best camera is one that still works!
I agree with this to a point but the type of camera shouldn't really be a part of the equation IMO. Not one of the people I photographed on my recent outback trip was the slightest bit interested in my camera ... it was totally up to me to make them understand why I wanted to photograph them, the camera was just the tool for doing so and not the centre of attention.
randolph45
Well-known
fearless
fearless
Joe
Probably aproaches on the street would be suspect in this day and age.Maybe interaction with other social groups would open some doors .You spent a lot of time in the farmers markets so the venders might remember you .
fearless
Joe
Probably aproaches on the street would be suspect in this day and age.Maybe interaction with other social groups would open some doors .You spent a lot of time in the farmers markets so the venders might remember you .
kxl
Social Documentary
I'm more of a "take what the street gives you" type of shooter. If my subjects interact with me, that's great; if not, then that's fine too. The interaction (or lack of it) does factor in to my composition.
With interaction:
No interaction:
With interaction:
No interaction:
back alley
IMAGES
funny this came up…i have been interacting with the vendors more and more…they call me by name now instead of just smiling back at me…we chat about the images that i post on their facebook page (the market's page) and i am much more satisfied with the people shots i make there now...
Bob Michaels
nobody special
Joe: I believe "personal connection" and "projects" are unrelated.
A project is necessary to create a cohesive body of work where each image supports others so that the whole is greater than simple total of the individual images.
Personal Connection has many forms. While it can mean establishment of a relationship through verbal discourse, it can also be done in an instant with only eye contact. It comes naturally to some and is impossible for others. The term "people person" applies here.
I believe gear comes into play as it is necessary to be totally familiar with what you are using. You cannot be foot zooming, twiddling dials, recomposing, and such. You must have the ability to already visualize what you want, then instantaneously get the shot when you lift the camera. Otherwise it becomes about the camera instead of your relationship with the subject.
You have probably seen these images before but hopefully they demonstrate almost immediate establishment of "personal connection" in spite of a language barrier.
A project is necessary to create a cohesive body of work where each image supports others so that the whole is greater than simple total of the individual images.
Personal Connection has many forms. While it can mean establishment of a relationship through verbal discourse, it can also be done in an instant with only eye contact. It comes naturally to some and is impossible for others. The term "people person" applies here.
I believe gear comes into play as it is necessary to be totally familiar with what you are using. You cannot be foot zooming, twiddling dials, recomposing, and such. You must have the ability to already visualize what you want, then instantaneously get the shot when you lift the camera. Otherwise it becomes about the camera instead of your relationship with the subject.
You have probably seen these images before but hopefully they demonstrate almost immediate establishment of "personal connection" in spite of a language barrier.
Bob Michaels
nobody special
One more example: Can a white guy from Florida who just got out of a new car carrying a big camera (Mamiya 7) quickly establish a "personal connection" with a permanently unemployed black guy drinking malt liquor in an alley in Rosedale Mississippi? Sure, if you just put it all out on the line totally exposing your vulnerabilities while implicitly conveying you are simply both human beings and totally equal. You just have to honestly care and go for it.
helen.HH
To Light & Love ...
Bob: Loved your Photos ...
Go for it Joe,its now a Calling !
Go for it Joe,its now a Calling !
reiki_
Well-known
One more example: Can a white guy from Florida who just got out of a new car carrying a big camera (Mamiya 7) quickly establish a "personal connection" with a permanently unemployed black guy drinking malt liquor in an alley in Rosedale Mississippi? Sure, if you just put it all out on the line totally exposing your vulnerabilities while implicitly conveying you are simply both human beings and totally equal. You just have to honestly care and go for it.
Really nice pcitures. What if you dont really care but its just that the picture is so so beautiful and you want to take it?
mfogiel
Veteran
Joe, it depends how close you want to get. A good idea, is to find yourself a new girlfriend...
cz23
-
Joe, I think we should be very sensitive and responsive to our creative impulses. So if you feel drawn, come up with a project and see where it leads and how it feels. That's the only way to know. The Muse is almost always worth following, even with experimental faith.
But I also feel there is a middle ground between "quick shots on the street" and an approach that involves mutual connection. It has more to do with your own personal connection to the ideas and values behind your work. That's a personal connection of a different sort, but also very rewarding.
John
But I also feel there is a middle ground between "quick shots on the street" and an approach that involves mutual connection. It has more to do with your own personal connection to the ideas and values behind your work. That's a personal connection of a different sort, but also very rewarding.
John
NY_Dan
Well-known
The answer to this should come from yourself in an organic way -- others can't suggest projects/subject matter for you. Pursue what catches your interest and see how it goes. Rinse and repeat.
MCTuomey
Veteran
Well put. It ain't easy, especially if not done regularly. Also, it's good to know the difference between alley chilling and alley drug commerce.
Godfrey
somewhat colored
You don't need a project.
You need a motivation to connect with a person and the will to carry it through.
You need to become brave, fearless, and vulnerable all at the same time while also maintaining distance and objectivity.
While the camera is important, it should always have a secondary role in making the connection.
You can do it. Anyone can. Enjoy getting to know people casually. Say hello to folks when you're standing on a line waiting for something, chat them up about why they're there. Find common ground, or make it. Tell them you're a photographer thinking about doing a book of portraits. Talk about that a bit, or whatever it leads to. When it's time to Ask The Question ("May I take your photograph?") do it in a way that is fun and invites their participation.
It really doesn't matter what camera you use, but sometimes you can wind the camera into the conversation and motivation nicely. Happens a lot with Polaroids: "I dug this old camera out and found I could still get film..."
"Ooh, my dad had one of those!"
"Can I try taking your picture with it? I don't know if it's going to work... (laugh)" ...
etc. I do the same when I'm carrying a Hasselblad, a Minox, a Sony A7, a Leica M (any sort); it's a gimmick to fabricate some common ground.
"Ooh, my dad had one of those!"
"Can I try taking your picture with it? I don't know if it's going to work... (laugh)" ...
etc. I do the same when I'm carrying a Hasselblad, a Minox, a Sony A7, a Leica M (any sort); it's a gimmick to fabricate some common ground.
That's the essence: some common ground to level the distance between you and a subject. When you're taking pictures of children, get down to their level (waist level finders or tiltable LCDs help ...!). Kids can be great to work with, just carry on a conversation with them (and their parents too) and don't sneak around snapping shots of them. That's what twigs off parents the most, and the kids see through the deception in an instant.
When you take photos of people or children, ask them (or their parents) if they'd like a copy and have a notebook and a pen handy to write down their name and contact info. It gives them confidence that you really are what you pose to be. AND follow through on sending them a print or web image.
Work in close, with a 28-35mm EFoV as practice to keep you close. Look at the subject, not at the camera, most of the time. Know your camera well and handle it confidently, economically. Make all of your movements smooth and economical, direct and sure. Have the camera's exposure and focus set to be approximately right before you start engaging the subject. Be ready to wait, and don't wait–be ready.
Bruce is a friend of many years now. He's not overly comfortable with having his picture taken, but he knows I always take pictures and has allowed me to photograph him numerous times. This kind of intimate portrait would at one time stress him out enormously, now he accept and relaxes into it with a casual "Oh well, he'd just going to take a picture anyway..." attitude. Becoming relaxed, the photos of him are getting better and better.
I get into periods of shooting objects, things, scenes, and then into periods of shooting people. Switching between the different genera rests my eyes, clears my ability to see the other. Good photography is fun, but it's also work: it's tough and you have to work at it, practice it.
Bob Michaels: Great pix! Like all of them.
G
Bob Michaels
nobody special
I personally believe that if you really don't care about the person, you are dead in the water because it comes through. Maybe you have hit on the key point why some succeed at this while others cannot.
robert blu
quiet photographer
Joe, go for it. Probably you'll shoot less spending more time in conversations but you'll get interesting results. I love the photos where a connection between the photographer and the subject has been established.
robert
but you'll get interesting results. I love the photos where a connection between the photographer and the subject has been established. robert
Thardy
Veteran
Here's a project a guy did using a small camera.
http://www.stevehuffphoto.com/2014/07/17/photographing-100-strangers-with-fuji-by-justin-holder/
http://www.stevehuffphoto.com/2014/07/17/photographing-100-strangers-with-fuji-by-justin-holder/