Photographer Sirkka-Liisa Konttinen (Photographing Byker, 1974)

[Erik van Straten]

Yes, I liked the pictures too, but they were only shown for a fraction of a second. The photos were not done justice in the documentary. That is what I wanted to say.

I have the same F, but with another lens (50mm f/2).

Erik.

 

[Shab]

Erik, so I understood in a wrong way, so, please, forgive me.

When I read your words and I see the first thing was "a pretty girl" I thought: I have never read something like that about a man-photographer. And as I listen some words in this way in the entreprises it has sound like that.

So, again, I'm sorry.

 

[Erik van Straten]

Shab, everything is OK.

Cartier-Bresson was a very handsome man in his young years. I've read that many times. And it was true.

Erik.

 

[markjwyatt]

All those attributes can be true independently of one another (a photographer can be attractive or unattractive physically, be a good or bad photographer, and use a nice or not so nice camera). All combinations are possible.

 

[charjohncarter]

Very good Pan, where do you find all these photographers? Byker isn't at all like my home town in Oregon, which is a suburb. But when I go back now it is so different from what it was in the fifties. My friends living there just don't notice the change.

I wonder if they still speak Geordie in Byker?

 

[ellisson]

What I found most interesting about this documentary was the photographers's bonding with the people and her acceptance by an engaging population. Letting her into their lives took more than technical photographic skill. She was emotionally bonded and it shows in the numerous photos shown in the documentary, some obviously taken during the video.

Sure, change is inevitable and should have significant upside, but as summarized by the moderator and evidenced by the work of the two artists interviewed for the piece, sometimes the baby gets thrown out with the bathwater. Hopefully, some of the community spirit and culture will have been preserved along with the paintings and photos.

 

[emraphoto]

What I found most interesting about this documentary was the photographers's bonding with the people and her acceptance by an engaging population. Letting her into their lives took more than technical photographic skill. She was emotionally bonded and it shows in the numerous photos shown in the documentary, some obviously taken during the video.

Sure, change is inevitable and should have significant upside, but as summarized by the moderator and evidenced by the work of the two artists interviewed for the piece, sometimes the baby gets thrown out with the bathwater. Hopefully, some of the community spirit and culture will have been preserved along with the paintings and photos.

I cannot stress enough how important your first paragraph is, for this sort of work and/or photojournalism. First you earn acceptance and trust, then you go to work. It’s gravy after that 😉

 

[Andy Kibber]

I cannot stress enough how important your first paragraph is, for this sort of work and/or photojournalism. First you earn acceptance and trust, then you go to work. It’s gravy after that 😉

On this topic, I enjoyed Doug DuBois' interview on Eric Marth's Halftone podcast. DuBois talks at length about his encounters in the Russell Heights neighborhood and the work that ultimately became My Last Day at Seventeen.