Forget the cameras - what are your working methods?

[Imagestreet]

I'd like to pose a question to other RFF users based on a great Mike Johnston article "The Importance of Working-Method Goals" available at

http://www.luminous-landscape.com/columns/sm-02-04-31.shtml

I've been taking photographs for years however my interest in photography has been a bit up and down lately probably due to me not having a real focus for shooting. I try to carry out my Voigtlander R3a as much as possible at weekends and holidays (even occasionally to work), however as often as not, it remains in the Domke F803 bag with the 3 CV lenses I bought for it. I have obviously managed to keep it going through the revitalising effect of buying more gear (this month a 70-200 VR Nikon lens and a film scanner...), however I'm rapidly coming to the point where I have neither the storage space or excuses not to go out and actually take pictures.

My problem is the kind of rangefinder shots I like, are primarily people pictures - candids, lifestyle, and gritty reportage style urban shots. Unfortunately I get really embarrassed by pointing cameras at people either through:

(a) engaging with them directly (I'm not one of these people who is comfortable striking up an unforced conversation with someone I don't know),

(b) lurking around suspiciously,sweating profusely and fiddling nervously with my equipment while building up the courage to grab a blurred shot of them with their back to me (this is also not a good technique to use in London at the moment!).

More often then not this has resulted in often seeing a great potential shot and then realising with horror the sheer effort involved in stopping, raising the camera (or worse getting it out of the bag), framing, focusing and metering, pointing it at the hapless subject, and then dealing with the awkward moment after shutter release where the subject is frowning at you...leading to 9 times out of 10 taking the safe option of walking on and photographing some office block instead.

This has led to a bit of soul-searching as when I look back at my photographs, I'm struck by the realisation that every really good shot I've ever taken has involved me taking a risk and "just doing it". So I've decided to approach this problem from a working methods perspective.

My aspirational working methods for the next 2 months will therefore be:

(1) Get some simple "photographer" business cards printed in the next 2 weeks and carry them while shooting (OK this is not strictly speaking related to taking pictures but it means you can shoot with confidence as you can give curious or alarmed subjects a credible explanation of your activity).

(2) Try one of the exercises that involves taking 6 rolls of film a day over the normal 2 per month.

(3) DON'T BUY ANY GEAR AND AVOID EBAY 😱

(4) Shoot a set of themed pictures (currently thinking about "Women in the city" as I work in the London financial district AND umm I like pictures of women)

(5) Taking risks (take at least 10 shots every day you can shoot that are out of your comfort zone)

So what are your current or aspirational working methods??

 

[Marc Jutras]

Being, like you, not to thrilled by the idea of shooting pure strangers in the street and not being suicidal (due to Quebec laws regarding private life (street photo if not all forms of photojournalism are pretty much dead here) ), I shoot projects or events where I'm either welcomed or litterally hired to shoot.

Luckilly, during the last year, the people I've met have opened the doors of some fantastic but very private and underground circles for me. I have access and can shoot things most people wouldn't even believe exist. But it didn't happen in a day and it's still only in its infancy.

At first and for a while, I wouldn't even mention I'm a photographer. After a while, it became known and some day, I was asked if I'd like to shoot a special show. It was the first time I brought a camera with me there. Since then, it's been a very enjoyable travel into another dimension and it just keeps getting better and better. I'm getting asked to shoot things I'll never be able to show on my site!

So for me, documenting the underground or subcultures because I'm invited to beats street photography any day. It just suits me way better. Others prefer street shooting and are wonderful at it. To each his own.

If you plan to approach a particular group of people because they do something interesting to document (especially sensitive matters), I would strongly suggest to gain their confidence and respect before you show up with a camera. Then everything should be as easy as taking snapshots of your best friends birthday.

That's what has been working for me so far.

 

[NoTx]

You know, in general, I shoot the shot. But I follow two simple rules.

1. If a group or collection of people, raise the camera, snap the shot, immediatly lower the camera.

2. If a single person, ask politily, if they say no, walk on (happend twice this year); else take the shot.

 

[Gabriel M.A.]

I think you are either going to have to learn to overcome your coyness, or have to learn how to use it to your advantage, meaning how it influences the photographs you take. No matter what method you take, you must feel comfortable either approaching your subject directly or indirectly. If you're too uncomfortable the only method I can recommend is to practice speed (quick focus, wind, aperture/speed set and shoot).

Imho, that's what it boils down to. Either you feel the photo moment or you don't. Working on technical aspects are great, but are in the end useless if you are frozen by "stage fright".

Trust me, I've been there. It doesn't help to live in a paranoid country either...

 

[Terence T]

It's a common thing to be apprehensive in snapping shots of strangers, that's why I shoot from the hip half the time with a super wide. I capture the scene and everything is in focus about 90% of the time.

I do approach strangers to ask sometimes, but more normally I would just bring the camera up and shoot or just let a few off from the hip.

 

[jan normandale]

Hi Imagestreet

I walk with my camera raised ready to shoot. I shoot a lot. I also take my camera everywhere all the time except in my place of employment because I think I should be working not engaging in personal activity.

I shoot about a roll every 2 - 3 days. I shoot a lot of things using an Olympus RC set at about 12 feet and using AE selectively. I will sometimes take time to focus if there is something in the street that is stationary. I don't shoot from the hip. I waste film and seldom get what I want. Shooting as it is, is a 50/50 thing even when I’m ready. People in the street move way faster than you think. It’s more like sports photography. Sometimes the shot is a throwaway. Out of focus, out of frame all the usual issues.

Just take the camera and start shooting in the street, eventually you will be so comfortable that few of your subjects will notice you. They will notice a ‘nervous’, ‘edgy’, ‘fumbling for a camera in a bag’ person. There will be things you should not do.

Don’t take pix of children you don’t know, don’t take pix of police, don’t take pix of areas that are noted as being under surveillance. There are more but you will figure that out.

Good luck!

jan

 

[cp_ste.croix]

I think you have to figure out your comfortable working distance too...and decide what type of shots you like. I prefer something a little longer so I can stand at least 6' away and still fill the frame to whatever I might desire. Lenses that work for this range from 50-90 for what I tend to like in my frame.

You know what I have actually found? Using a TLR from the waist, because it puts me in a semi-submissive posture (head bowed, shoulders forward) people seem way more at ease, even if they recognise that I'm taking a picture. Anyone else found this?

 

[Stephanie Brim]

I love the look of street photography so much and I also love, more than anything, the results that come out of it. I have the problem, though, that most other people also have at some point or another: I get shy and feel as though I'm invading someone's privacy. Now that I use a Canonet 28 for a lot of my outdoor shots I'm not so much that way anymore, but when I was using my Nikon SLR I got kind of self-conscious because of the loudness of the shutter. It took me a lot of time to get over the whole nervousness thing, but now that I am things are going better in that regard.

I am going to a theme park in the middle of August with one thing in mind: I want to take interesting candid portraits of people at the park. These are what I'm truly interested in and what I really love to do. Catching someone with a certain expression on their face is something that I love to do and don't do enough of. I've noted that there are quite a few things that help with this, but these are some of the things which I'm going to do on the trip:

• Take my more interesting cameras along for the ride. I have my old Voigtlander Vito CLR and an Olympus Pen EE that I'm planning to take with me, and I'd also like to fix up my Meopta Flexaret and maybe use that a bit. I've noticed, as some of the other people here have, that having an interesting piece of equipment to take pictures of your subjects sometimes helps them overcome the initial squeemishness about getting their picture taken with curiosity about what it is you're taking their photo with.
• Take along plenty of film of different speeds and types. Considering the fact that I will have about 3 cameras with me at least and maybe a fourth and perhaps a fifth, putting different films in each is plausible and a pretty decent idea. I'm putting Velvia in the big Nikon, Pan-F in the Canonet, and probably some Tri-X in the Voigtlander. I also have various types of Ektachrome, some Elite Chrome, Fuji print film, and Agfa print film. I'm stocked and ready to go.
• I want to also choose my composition very carefully. The problem with my lenses is that there isn't that much difference in their focal lengths; the Canonet actually has the widest lens that I have, and that's just a 40mm. This means that, for landscape photography, I'm going to have to do some careful composing or they won't turn out as I like.
• I'm also going to take some night shots...slow film, slow shutter speed. I want to get the look of the park at dusk, just as we leave.

 

[Aperture]

Hey, you're in London with another 7 million people or so....
Who cares if you offend a few people by taking a picture of them, chances are small you're bumping in them again. I'd say sod it, if it moves and is in a public area it's fair game....
Have fun shooting!

 

[RML]

Don’t take pix of children you don’t know

Good advice. People have very odd ideas nowadays and get overly protective.

don’t take pix of police

Why not? They're out in the open. They're civil servants and paid by my tax money. And who is going to keep them in check if they can't be photographed? In my experience, most police officers don't give a rat's behind whether they are photographed or not, unless they have something to hide. But that last thing goes for others as well.

don’t take pix of areas that are noted as being under surveillance.

Under surveillance of what or whom? Shoot it. It's already under surveillance so one more pic of it won't matter.

Strike up a conversation with a person. It's easy. Imagine yourself having a legitimate reason to be in the area and just walk up to someone. My angle these days is to "pretend" to be looking for a new house (it's atually true, though not necessarily in that particular area). It gives me the confidence to shoot anything and everything and provides an excuse if someone asks what I'm up to. It's also an icebreaker for a conversation. The local people are usually more than willing to talk about their experiences in their neighbourhood, and while talking you can slip in the question (Can I take your photograph?).

With many cities and countries nowadays being potential terrorist targets, I'd say shoot as openly and conspiciously as possible! Let people know you are there. And if they complain, tell them it's already too late. The shot is taken. If they complain more, tell them that in the background of this shot might be the only picture of a terrorist and that the complainer should perhaps think about that for a change instead of his/her misplaced idea of privacy in public.

There's no need to become rude or offensive but it is important to stand firm. If necessary, play at people's fears. Governments and newspapers are pretty good at all the time and claim it as an excuse for many draconian measures or in the name of freedom of news gathering.

As aperture said it, sod them all. Take the shot. All of us photographers (me included) should firm up and perhaps even see ourselves as the last bastion of freedom and peace, the last line of defence against the terrorists and[/] the government.

 

[jlw]

I'd like to pose a question to other RFF users based on a great Mike Johnston article "The Importance of Working-Method Goals" available at

http://www.luminous-landscape.com/columns/sm-02-04-31.shtml

I've been taking photographs for years however my interest in photography has been a bit up and down lately probably due to me not having a real focus for shooting.

I dunno, I'm not sure I have a "working method." The way I look at it is that my photography goes along with my other interests -- I'm interested in doing photography of the same things that interest me outside of photography.

I'm very interested in the training and work of dancers: I'm on the board of directors of a ballet academy, I attend a lot of performances, I do a lot of volunteer work for local dance companies, and -- flowing naturally out of all that -- I photograph dance performances and dancers at work. My other connections to the dance community make it easier for me to find opportunities to photograph, and also give me a knowledge of the subject that helps me photograph it more insightfully (or at least so I tell myself!)

I'm also fairly involved, in a small way, with old sports cars: I own one, I belong to a couple of clubs, I go to competitions and track days, I correspond with other people who are interested in this -- and so, when the opportunity arises, I also enjoy taking photos of old sports cars and the colorful sorts of people who enjoy them.

So, I guess you could say my working method is just to live my life, and let the photography happen in whatever way seems like a natural extension of my other interests. I take my photography pretty seriously, but I also try not to force it -- if I start worrying too much about "creating photographs" rather than just interpreting what's around me, I tend to start producing clichés or self-absorbed crap.

Recently I read a novel, Horse Heaven, by Jane Smiley, which is set in the world of Thoroughbred horse racing (which would be a fascinating thing to photograph from an insider perspective) and involves all sorts of people who inhabit it. One of the things I came across in the book is a set of rules followed by one of the characters, a successful horse trainer, which he calls "The Tibetan Book of Thoroughbred Training."

The rules seemed counterintuitive and non-logical at first glance -- but as the novel developed, they started making sense. And after I finished it, I discovered that in a way, they also make sense in my approach to photography! Here they are:

1. Do not pay attention or investigate; leave your mind in its own sphere
2. Do not see any fault anywhere
3. Do not take anything to heart
4. Do not hanker after signs of progress
5. Although this may be called inattention, do not fall prey to laziness
6. Be in a state of constant inspection

As I said, they sound kind of crazy at first. For example, how can you do photography without paying attention? But when I thought about it, I realized that deciding to pay attention to ONE thing means deciding to ignore other possible things, and that can lead to formulaic photographs and missed opportunities.

All in all, it's not a bad roadmap to photography, at least the way I approach it; you could almost rewrite the rules (in reverse order) to say: Keep your eyes open, shoot a lot, don't worry if you don't seem to be getting anywhere, don't get depressed if an idea doesn't work out, don't be over-critical, and be open to experience rather than getting detoured by preconceptions.


Does that add up to a "working method"?

 

[ChrisN]

Good article about Garry Winogrand's approach: www.photogs.com/bwworld/xtol1.html

 

[Duncan Ross]

I too would feel too nervous about photographing strangers; perhaps it's a 'British' thing! My aim at the moment is to shoot more B&W, I love the results so much. Unfortunately I have shedloads of Kodak Gold film (the lab I send my films to give me two free films for every film I send - you can imagine the inevitable result) and nobody seems to use it apart from me, you can't give it away on ebay.

One obstacle for candit photography (is that the phrase) is that none of my cameras are quiet. Even my cosmic 35 makes quite a racket!

 

[RML]

One obstacle for candit photography (is that the phrase) is that none of my cameras are quiet. Even my cosmic 35 makes quite a racket!

Be inconspicious by being conspicious.

The mailman, window washer, parking meter attendant, street sweeper et all are not doing their work inconspiciously but no-one seems to notice or remember them. Do what you do and do it out in the open. It's a normal activity and the more normal you do it, the more inconspicious it becomes.

 

[parks5920]

Ask and ye shall recieve. If your polite, don't look like a perv and if asked, xplain. A friend of mine takes ALOT of photographs here in Los Angeles, the snob capital of the world. He posts all of his photo's on his web site and tells people who ask why to check out his site. He always says that if they see the picture and don't like it, he will remove it; he's never had one request.

 

[Doug]

Kind of a fun and useful article on photographic shyness here:
http://www.pinkheadedbug.com/techniques/index.html

I decided that my more interesting photos were of other people and their activities. So I set out to counter my own diffidence over confronting them with my camera and worked out some forthright and up-front tactics. I always get at least tacit approval for snapping away, even if by non-verbal body language. I snap and then nod or say thanks with a smile. Upon the common question, I may say something like I'm taking snaps of interesting people or people doing interesting things, etc. And I agree with RML! 🙂

 

[Roger Hicks]

Leave the country.

In my teens and 20s (I'm 55 now) I shot LOTS of street pics in the UK. As I got older I found it more and more difficult. I thought it was me that had changed. It wasn't. It was the British people. They have become more and more aggressive and paranoid. Americans don't seem *quite* as bad but it's been a while since I was shooting in NYC where I found them most paranoid. Here in France the big cities are sometimes awkward, but rural France, where I live, is no problem.

But in most of Eastern europe it's the same as it was in the UK 30 years ago. People take it as a bit of a lark to be photographed, which is as it should be. The only ones who aren't happy are about 30 per cent of old women, so I never (or rarely) shoot them unawares: just half-raise the camera and smile. If they turn away, no pic. If they don't, I shoot.

Cheers,

Roger (www.rogerandfrances.com)

 

[alansoon]

Here's my method:

1) Stare intently at object next to subject, such as a street sign, lamp post, etc.
2) Gently raise camera
3) Focus on decoy subject (hopefully on the same plane, or in focus threshold)
4) Snap
5) Slowly remove camera from face
6) MOST IMPORTANT STEP -- continue looking intently at decoy subject. Do not make eye contact with real subject.

Works everytime.

 

[Roman]

Imagestrret,

I pretty much have the same feelings of shyness when shooting street-pics of strangers, and have missed lots of potentially good pics because of that.

There were quite a few good suggestions here already - Alan's tip of pretending to take a pic of something else close to the person works best for me, as does using a TLR, using a completely preset (focus & exposure) camera, that you only raise very quickly for framing and shooting - takes 2 seconds at most - in passing a person/scen (that's what I do when using my Leica CL); and I'm also more comfortable with a slightly longer lens, like a 50 - using a 35 I'd have to get closer than what my personal comfort zone is.

Another suggestion: try practising at place where photographers are abundant, and people are occupied with other activietes rather tha watching you - like at street fairs, outdoor markets, open-air concerts, amusement parks, parades, etc.

Roman

 

[varjag]

I am too a naturally shy person and hate puzzling people by pointing a camera on them.

Having said that, I shoot street every day. You ultimately have to decide what is more important to you: personal comfort and opinions of other people, or the great moments you can capture.

As of the method, it is simple: I carry the camera everyhwere (prefocused, if light conditions allow), and when I notice anything interesting I raise it and snap. I do it openly and trying not to be sneaky. A few times I attempted hip-shots but this is not my thing: makes me feel voyeur and guilty for what I do.