"Stumble upon" effect in street photography.

[Ko.Fe.]

I left "big city" living style decade ago, but I'm enjoying photowalk every time I'm in big city, like Toronto, for example.
I keep on walking for couple of hours, non-stop and looking around me for something unusual.
And here is my problem.
For example, yesterday, I walk on busy Queen Street and here is one person at the corner, which seems to be upset or frustrated. Another person walking behind me, approaching the upset one, making eye and physical contact - great moment! I'm looking at it all, I'm very close to it and I just walking by. Two seconds later, it is gone and I have no picture.
This situation is often to me on the street, I see something interesting happening between people, it lasts only very few seconds, but I could easily take it, instead, I'm just walking and looking at what is happening and few seconds later - :bang: why I didn't take it?

How to deal with it?

 

[ABrosig]

I run across the same problem, only with me, it's when I'm shooting sports. I seem to get so caught up in the game, I almost forget I'm supposed to be shooting the game. And that's usually when I miss the best shots or plays of the game. I just have to force myself to start shooting and stop being a completely passive observer or getting so caught up in what's going on around me I'm forgetting the reason I'm there.

In you case, could it be perhaps you feel these particular moments are almost too private and you'd be intruding? I don't know, but that's a thought, I guess. Or maybe it's you getting so caught up in the event unfolding before you, you forget you're trying to chronicle city life. I don't know. But I think it goes back to that forcing myself to shoot the game and stop simply watching what's happening around me.

 

[Dan Daniel]

Maybe this isn't your type of photographing? For example, an upset person with another coming to comfort/confront- the 'typical' human reaction is to give them distance and a bit of respect and privacy. Not shove a camera in their face and fire a few shots. So maybe you didn't take it because you are a decent guy?

Seriously. There is a hunter's mindset to some types of street photography. You need to be on edge, prepared, at all times. Being out to photograph is specific mind frame for me, and is different than, say, walking to get some bread.

Another issue might be that you are walking too fast. Saunter more. Let scenes develop in front of you. Find a good 'stage' and let characters come along to fill it? Stand in one spot for minutes at a time.

Have you looked at the work of Helen Levitt? Try to imagine what she was seeing, how a scene developed for her, and how she was ready for a particular moment. http://www.jacksonfineart.com/Helen-Levitt-881.html

 

[tuanvinh2000]

if you can participate and get ready, then shoot it next time.
however dont put too much stress on yourself that you missed the moment, you have observed it and it's ok to not taking the photos. plus often the photos taken there might be in a rush, not end up as a good photo as you would imagine. so it's ok to miss out the photo but enjoy the moment.
you are shooting for yourself not on assignment. dont have to always shoot! and there are good moments at the next corners usually.

 

[Ko.Fe.]

Thanks, tuanvinh2000, I'll take it easy. Just wondering. It isn't problem for me to frame it quickly and I'm keeping my camera ready in terms of light changes.

ABrosig, it is not always intimate, but always interesting. Two hours walk and maybe two moments like these and I'm switching to observation mode.
I'm staring at it, not hiding at all. And just few seconds before it happens so close to me, I was walking and looking for something like this.

Thank you, Dan Daniel, you might be into something. Usually I'm fastest person walking on the street. I want to cover more, since I'm not here often.

 

[tuanvinh2000]

Happen to me all the time 🙂 but i agree with Dan, i tend to sit down and spend more time with one location than walking fast because thats where you see things unfold. walking slow/stand still is one of the best ways to improve your photos. i lived in toronto for a long while and i know where you are talking about, used to live on queen st east area!

 

[John E Earley]

Sometimes, at least for me, just being in the moment is more important than getting a photo. It's part of being alive.

 

[Paul Jenkin]

I attended a talk at a photo event in Derby, UK, a couple of years ago. The main speaker was Joel Meyerowitz. Despite being about 2 metres tall with a bald head and Leica's strapped to him, he seems to feel he's "invisible" when he's out on the street, shooting. Clearly, he isn't - but he's found a way of cutting out the distraction of worrying about the potential of getting embroiled in the situation and just taking the shot and moving on.

I doubt everyone (or even many) can do this without a fair bit of practice. However, having a discreet camera ready for use at all times has to be a starting point. I often find that my camera's in my bag when something interesting happens....!!

 

[emraphoto]

i have always found 'street photography' a tough game to participate in and view as largely it feels impersonal and at times, intrusive. in the end, the glut of this sort of imagery has turned me completely away from the genre.

Sometimes, at least for me, just being in the moment is more important than getting a photo. It's part of being alive.

there is a profound truth in this statement and i believe, without doing this first, it is a very tall task to produce compelling photographic work in the streets. let's face it, there are a lot of 'street photographers' about these days and most of the work is technically good. perhaps ERIC KIM is a good example. he has a very good eye and has progressed in his arrangement of subject matter in the 2 dimensional frame. unfortunately the bulk of his work leaves me unmoved as it contains no emotional anchor. no 'reason' to either care for or at least, be interested in the subject matter. in an era where street photography has become akin to a lead filled blanket over us, without these elements the photograph simply becomes one of the millions on flickr that most skip/click past.

over the past 5-10 years i have enjoyed much success as a photographer and had the privilege to work with some of the best outlets and galleries i can think of. almost all of this came from the sudden realization that by first stopping and caring deeply about why the person in your example is upset, i can then begin to understand what sort of photographs compel and which ones leave us yawning.

 

[JChrome]

Maybe this isn't your type of photographing? For example, an upset person with another coming to comfort/confront- the 'typical' human reaction is to give them distance and a bit of respect and privacy. Not shove a camera in their face and fire a few shots. So maybe you didn't take it because you are a decent guy? Seriously. There is a hunter's mindset to some types of street photography. You need to be on edge, prepared, at all times. Being out to photograph is specific mind frame for me, and is different than, say, walking to get some bread.

To the first part about getting in peoples faces, there is a sub category of street which is in that camp. This takes some getting used to and as some people have said, makes them uncomfortable and they don't like street for this reason. I've never done flash on the street but the Bruce Davidson thing is what a lot of people go for.

I don't do that, but even if you aren't "in people's faces" there's another type of street that is about geometry and people's place within that geometry. I shoot more for this.

Either way, the hunter mindset is needed as Dan said above. You should be constantly thinking about exposure, range focusing your camera in anticipation and prepared for when the shot comes. You should try and see it well before it comes. Sometimes it doesn't happen but in those instances, just learn from it and appreciate the beauty you witnessed.

 

[maddoc]

Ko. Fe., exactly the same happens to me all the time, walking somewhere and spotting something interesting, becoming really interested and finally when the situation has dissolved then I realize that I am holding a camera in my hand ready to shot...

The tip with slowly walking / taking short breaks is very good. I am going to try this.

Sent from my iPhone using Forum Runner

 

[Georgiy Romanov]

"There is no frames when i reloading" 🙂

 

[NY_Dan]

HCB said to shoot just one shot so you don't call attention to yourself and seem more like a tourist. I find when trying to get these type of shots it is indeed like fishing/hunting -- you have to be very alert and not daydream. And you have to anticipate and look for people displaying emotion and certain behaviors, or they just look interesting, or you have intuition, or the light and background are good. It helps if you don't have a lens cap on, have all setting ready to go, and are pre-focused at a distance you expect to be (Weegee said this). It requires a lot of effort and patience -- and shoe leather. Often you can't ask yourself if you should shoot -- just shoot and sort it out later. Someone wrote words to the effect that photographers who want these shots have to take them - where take has 2 meanings. Audrey Hepburn in Funnyface tells Fred Astaire -- "take the picture, take the picture, take the picture." So I do and blame her. It also involves luck -- but if you do it more you will get lucky more. I sometimes revisit places where I've taken photos I like and the mood isn't the same -- the magic is gone. And sometimes a place or a time has some magic and one gets 2 or 3 shots they like in a short time. So if you get one shot you like, keep your eyes open as they often come in groups. If you shoot film, know when you're near the end of your roll. Also scan both sides of the street and visually imagine what a shot might look like if you could remotely position your camera anywhere -- and then time permitting go there and shoot that shot. If you can walk in the direction where the sun is behind you, that helps a great deal. Everyone has their tricks and methods. Many approaches are best. Sometimes interact, sometimes don't. Some people are best to avoid -- go with your gut, and don't linger -- that can invite confrontation as the confronting person gains confidence. Sometimes a smile goes a long way -- or being an obvious camera nerd. Don't feel like you're up to no good, or you will look like you're up to no good -- ie don't try to hide -- although you can look like you're interested in something else. You can even waive to someone who's not there. There's so much stuff to see -- it can be like walking in a visual candy store. The most mundane can be sublime. The vocabulary of expression and body language can be really loud at times.

9/14/2014 Coney Island, Brooklyn, NY

 

[Out to Lunch]

On some 'photo expeditions', I will myself to get close and take the shot. 9 out of 10, the subjects don't seem to care.

 

[EdwardKaraa]

To me street is exactly like hunting, you can't shoot while walking. If you find a potentially interesting situation, like the angry guy, you just take a spot, and wait for something to happen. Patience can be very rewarding.

 

[Ko.Fe.]

Thanks to all of you for comments.

....The main speaker was Joel Meyerowitz. Despite being about 2 metres tall with a bald head and Leica's strapped to him, he seems to feel he's "invisible" when he's out on the street, shooting. Clearly, he isn't - but he's found a way of cutting out the distraction of worrying about the potential of getting embroiled in the situation and just taking the shot and moving on...

I watched documentary about him on the street. He is visible not only by himself and camera but his act.
http://youtu.be/KDSGWy1CU78

...over the past 5-10 years i have enjoyed much success as a photographer and had the privilege to work with some of the best outlets and galleries i can think of. almost all of this came from the sudden realization that by first stopping and caring deeply about why the person in your example is upset, i can then begin to understand what sort of photographs compel and which ones leave us yawning.

Galleries? Like modern photography? This is where photography gives me yawning often. 😉

I wouldn't mind to stop for person in trouble, I rescued people twice in water and I was first to run and check two people hit buy the train and one person hit by the track, but in Toronto you really have to know what you are doing.

 

[FrankS]

Kostya,

For me, there is a conflict between capturing an interesting scene with people on the street, and the feeling that I'm intruding. If the frustration of not getting the shot overpowers the intrusive feeling, then I will more often try the shot. When I'm feeling too empathetic, then that overpowers my frustration and I won't try the shot. The interesting thing with me is that my conflicting feelings are usually right at the balancing point. That's why I find street shooting challenging and interesting. I have to be in the right mood to be successful. If I'm not in the correct mood, it is still an interesting walk, observing people.

 

[cz23]

Frank, if the balance is so close, why not take the shot? You can always delete it later if, in fact, you'd rather you had not taken it. Sometimes the picture looks very different than what was witnessed at the time. Our eyes and brains tend to single out and amplify details, but the camera doesn't. What we are reticent about may turn out to be not so significant.

John

 

[Jamie Pillers]

I think of these moments (I've had MANY) as my eye's education. I'm confident that at some point in the future, I'm going to come across something similar and the old memories will jog me to action more quickly. These experiences (the loss of an opportunity) make us better photographers in the future, in my opinion. 🙂

 

[kxl]

i agree with Dan, i tend to sit down and spend more time with one location than walking fast because that's where you see things unfold.

This is also what I do when I'm doing street photography, although for me, it was less of a stylistic choice and more of a mobility constraint imposed by physical issues.