Street Photography Ninjas

[TPPhotog]

This is a long thread so please forgive me if this has already been posted.

Another good way of "establishing friendly relationships" locally is to give them a print of at least one good shot that you captured of them as a thank you. Of course that only applies if your likely to see the people again in the future, but I find it very useful with market traders.

 

[Doug]

Another good way of "establishing friendly relationships" locally is to give them a print of at least one good shot that you captured of them as a thank you.

Tony, great point! I have 5x7 prints made for this purpose, though sometimes I get a bit behind. At the Farmers' Market here two weeks ago I passed out prints of images made last Fall, and that clearly helped me today. 😀 But I do it in the wider community as well, as my project for the past couple of years has been shooting environmental portraits of people doing their jobs. The prints open more doors...

 

[TPPhotog]

Doug I'm the same as 5x7 RC prints are quick, easy and have that glossy B&W look that many people usually think of as what B&W should look like. I've even made a few friends that way as it shows people you do care. Some of the market traders even help me get shots now my reassuring shoppers if they ask them what I'm doing 😀

 

[flamingo]

>> I asked the lead guy if he minded my taking a few shots of the work. He said sure, so I shot off half the roll as they just went about their work. <<

Yes , but did you get them to sign a model release ?

(double rimshot)

 

[varjag]

On the other hand, I am not really sure if you are allowed to photograph the police in every country. Where were those pictures taken anyways, Eugene?

All taken in Minsk, Belarus, at various anti-presidential protests. I am certain that you're allowed to photograph police officers in public places just about everywhere in Europe. If they don't want to be recognized they work in civil dress. Another thing of course is that they sometimes can bully a photographer, speaking from position of sheer power and number (and such behaviour is often encouraged here by their supervisors).

Most street contexts are, of course, different than this and require a bit more tact, ie. not just sticking the camera in someone's face.

Well, I never ask a permission for ordinary street shots either. If I recognize, say, a momental juxtaposition of people and/or surroundings I shoot instantly: such moments don't hold for long and any interaction would ruin them. See for instance the nun's shot in my gallery. But if your main interest is with people you photograph (not with momental arrangements of a chance) it commands a different approach, entirely valid on its own.

 

[Kevin]

If I recognize, say, a momental juxtaposition of people and/or surroundings I shoot instantly: such moments don't hold for long and any interaction would ruin them.

That is true up until you take your first shot, which by definition consitutes an interaction. You have to be able to see, focus and compose instantaneously in order for that technique to work, which beginners cannot easily or consistently do with a manual rangefinder. As far as I understand it, the decisive moment has a slightly larger window of opportunity, allowing you to study the scene and wait until all the elements properly fall into place. Seeing and shooting immediately requires a great deal of practice and most beginners will undoubtedly make errors photographing this way. In fact, most photographers will want to take more than one picture to increase the likelihood of getting a winner, especially if the people in the viewfinder are stationary.

In any case, your technique might work best when photographing a group of moving people in a public space, where none of them can be sure that you took a picture of just one of them. At the moment the first shot is fired, some or all of them will probably turn, look and see your camera - and the others. By not being able to deduce who was just photographed, they will probably continue on their way or simply turn the other way.

What do you do if you wish to take a second or third picture in rapid succession? Do you just fire away, even after your subjects have heard the first shot and turn to look?

By not communicating beforehand, don't you decrease your chances of following up with better pictures?

I do agree that your technique works best in a specific context, which seems to be the context you enjoy taking people pictures in. I cannot imagine using this technique, however, to photograph stationary people within 2 meters who do not look like they would appreciate a deliberate and unannounced photo taken of them.

Kevin

 

[varjag]

That is true up until you take your first shot, which by definition consitutes an interaction. You have to be able to see, focus and compose instantaneously in order for that technique to work, which beginners cannot easily or consistently do with a manual rangefinder. As far as I understand it, the decisive moment has a slightly larger window of opportunity, allowing you to study the scene and wait until all the elements properly fall into place.

Well, it more often works than not. If you want to shoot e.g. an arrangement of three people in momentary specific poses against a billboard you don't really have much choice. It ensures that you can take at least one shot you want, sometimes more: very often people don't care about your presence. Sometimes you see the scene building up, or just stay in ambush at a promising place, but the technique remains the same.

In fact, most photographers will want to take more than one picture to increase the likelihood of getting a winner, especially if the people in the viewfinder are stationary.

Sure, I too wouldn't mind an ability to take duplicate shots. Sometimes I can do that, more often I can't, but that's life 🙂

By not communicating beforehand, don't you decrease your chances of following up with better pictures?

I'd put it this way: by not communicating beforehand I gain the chance to take at least one shot I want. I'd have no chance otherwise.

I cannot imagine using this technique, however, to photograph stationary people within 2 meters who do not look like they would appreciate a deliberate and unannounced photo taken of them.

Mmm, I do that if it seems necessary. However, like you I don't sneak or hide my camera: it helps when people see confidence in your actions.

Plenty of street shooters work this way, some even with superwide lenses. This issue was often brought at photo.net Street&Doc forum, and there are proponents of both approaches. My undestanding is that you should choose whatever fits your style most, and custimize it for your specific needs. Street photography has very individual nature so no universal recipes here.

 

[FrankS]

Well said, both of you!

 

[varjag]

Thanks Frank.

Perhaps I should add that I don't find Kevin's approach to be inferior in any way. Starting a chatter with a stranger takes about the same jump over mental barrier as shooting him close without notice. From my posts it may sound like am some sort of a ruthless paparazzi, while in reality I'm more of a shy person. I have to overcome my hesitation every time I shoot people, and if the subject was less appealing to me I'd never shoot street. In fact I find shooting protests far easier psychologically than random strangers.

 

[Kevin]

I am reminded of a story my brother told me years ago. He was at a Grateful Dead concert and was taking photographs when someone from a distance came over, grabbed the lens on his camera and twisted. The camera obviously broke. I think that story has prevented me from adopting a similar technique. But who knows, maybe that was just his bad luck?

This conversation has convinced me that I should at least try the technique, perhaps with a cheaper camera and lens. Thanks.

Best,
Kevin

 

[varjag]

I am reminded of a story my brother told me years ago. He was at a Grateful Dead concert and was taking photographs when someone from a distance came over, grabbed the lens on his camera and twisted. The camera obviously broke. I think that story has prevented me from adopting a similar technique. But who knows, maybe that was just his bad luck?

I'd say this isn't a typical situation, although am obviously less worried about it using inexpensive equipment. I never encountered violent response to my actions so far, although it could be just my luck too.

And good luck to anyone twisting the lens out of my Kiev 🙂