Schuter
Established
If you submitted Goldin’s images to the typical internet photography guru for a portfolio critique, the results may be amusing. Contrast, focus, white balance, shadow detail, all wrong. Obviously the work of an amateur with little potential. Or is it? She has won numerous prestigious awards and has been exhibited globally. That is not the net result of a bunch of accidental photos.
She was classically trained, with a Bachelor of Fine Arts from the School of the Museum of Fine Arts/Tufts University in Boston, with a fifth year certificate. I see evidence of that training in her images. I see an understanding of the classical art principles of dynamic symmetry. Whether it was recognized at the moment she tripped the shutter or the result of careful editing, I don’t know, but I see a deliberate approach in her composition. I have no doubt she can produce a technically correct, Rembrandt-lit corporate headshot for an annual report. But that’s not her style.
To me, her “snapshot aesthetic” doesn’t have the signature look of any specific camera or lens and could be emulated with a wide variety of photographic systems. Goldin seemed to use focal lengths in the normal-to moderately wide range. I don’t see many long telephotos or extreme wides. Nor do I see any preference for a particular style of lighting. There is soft, hard, natural, flash and ambient light evident in her work, and she is clearly capable of using what is available.
I also see a strong relationship of trust between her and her subjects. She clearly had access to scenes that that someone outside her “tribe” would never see, much less be invited to document. She built bodies of work around subjects she connected with, understood and loved. I believe that much of the evocative impact of her images is a result of this.
That was more analysis than advice. So, getting back to the OP’s query… If I were to try to emulate Goldin’s “style” of photography, I would start with people with whom I have that kind of genuine trust. I think the attempt would fall flat without it. Assuming the OP already has that, I would work with a camera/lens combination that is simple, intuitive to use and unobtrusive. Medium? It looks like she used slide film and some black and white. I think one could approximate the look in digital and initially save money in material costs, but definitely have a go at film at some point. Once the technique is developed, determine why the strong images are strong and why the weak ones are weak. For me this is difficult to do objectively without help from somebody else.
There is no shame in trying to emulate somebody else’s style. Many great artists who are intellectually honest humbly acknowledge those who influenced them. Even the earliest photographers were influenced by the great painters. Over time their own visions evolved, and their distinctive styles emerged. Meanwhile, “F8 and be there”.
She was classically trained, with a Bachelor of Fine Arts from the School of the Museum of Fine Arts/Tufts University in Boston, with a fifth year certificate. I see evidence of that training in her images. I see an understanding of the classical art principles of dynamic symmetry. Whether it was recognized at the moment she tripped the shutter or the result of careful editing, I don’t know, but I see a deliberate approach in her composition. I have no doubt she can produce a technically correct, Rembrandt-lit corporate headshot for an annual report. But that’s not her style.
To me, her “snapshot aesthetic” doesn’t have the signature look of any specific camera or lens and could be emulated with a wide variety of photographic systems. Goldin seemed to use focal lengths in the normal-to moderately wide range. I don’t see many long telephotos or extreme wides. Nor do I see any preference for a particular style of lighting. There is soft, hard, natural, flash and ambient light evident in her work, and she is clearly capable of using what is available.
I also see a strong relationship of trust between her and her subjects. She clearly had access to scenes that that someone outside her “tribe” would never see, much less be invited to document. She built bodies of work around subjects she connected with, understood and loved. I believe that much of the evocative impact of her images is a result of this.
That was more analysis than advice. So, getting back to the OP’s query… If I were to try to emulate Goldin’s “style” of photography, I would start with people with whom I have that kind of genuine trust. I think the attempt would fall flat without it. Assuming the OP already has that, I would work with a camera/lens combination that is simple, intuitive to use and unobtrusive. Medium? It looks like she used slide film and some black and white. I think one could approximate the look in digital and initially save money in material costs, but definitely have a go at film at some point. Once the technique is developed, determine why the strong images are strong and why the weak ones are weak. For me this is difficult to do objectively without help from somebody else.
There is no shame in trying to emulate somebody else’s style. Many great artists who are intellectually honest humbly acknowledge those who influenced them. Even the earliest photographers were influenced by the great painters. Over time their own visions evolved, and their distinctive styles emerged. Meanwhile, “F8 and be there”.
SimonSawSunlight
Simon Fabel
I can help.
Never leave the house without a camera. Never be in the house without a camera. Never stop seeing as though you have your camera.
Go places. Do things. Go places and do things that you know are subjects for your passion. Go and do. You have your camera. See. See and use your camera.
Repeat often.
This sounds trite, but its honestly the way to the images you want. Doesn't matter if those are still lifes, or life made still. Or, something in between or outside the box.
I try to practice what I preach. I have a handful of images I like
also this.
Michael Markey
Veteran
icebear
Veteran
Forget about the gear, use whatever you are comfortable with and can use with "your eyes closed".
Take a masterclass with a photographer whose work you admire.
Typically just by flipping through a book and look at the work you don't understand the approach entirely.
Obviously you can't learn this if you don't have it in the first place.
btw. a few videos on youtube with Nan Goldin herself.
Axel
singleshooter
A lot of interesting and useful answers here.
The style of other photographers can and will influence your photography but
if you begin to copy it you´ll fail or become unhappy.
It is no question of gear. Some are buying everything the photographic market brought up the last hundred years. Others don´t care what tool they
are using if they only get their picture. Thirds swear that only one tool or technic is capable for "good" results...
Different lives, different ways.
So my advice is to watch as much pictures you can find and shoot, shoot, shoot.
My 5ct
I also have had this thoughts from time to time. Nothing special.
There was a statement like "kill your idols" before here that I would second.
The style of other photographers can and will influence your photography but
if you begin to copy it you´ll fail or become unhappy.
You are watching the personal style of a foreign person. It may help to look how photographers develop their personal style to bring up your own style.
It is no question of gear. Some are buying everything the photographic market brought up the last hundred years. Others don´t care what tool they
are using if they only get their picture. Thirds swear that only one tool or technic is capable for "good" results...
Different lives, different ways.
So my advice is to watch as much pictures you can find and shoot, shoot, shoot.
My 5ct
Yokosuka Mike
Abstract Clarity
I think I know what the OP is looking for.
A little rough and tumble photography! That's my cuppa tea!
Sigma SdQ and Sigma 10-20mm f3.5 EX DC lens
Today, 11/6/2019
All the best,
Mike
A little rough and tumble photography! That's my cuppa tea!
Sigma SdQ and Sigma 10-20mm f3.5 EX DC lens
Today, 11/6/2019
All the best,
Mike
Archiver
Veteran
I thought a bit more about the Nan Goldin thing, and I think there's a similarity to the reportage style images taken by Dennis Hopper in the 60s. If you can, take a look at Dennis Hopper Photographs 1961-1967. Because of his relationship with the entertainment industry, he was able to take a lot of very good, intimate images with notable Hollywood people of hat time.
https://www.youtube.com/watch?v=9Mk-k0c5kso
https://vimeo.com/26739950
https://www.youtube.com/watch?v=9Mk-k0c5kso
https://vimeo.com/26739950
Archiver
Veteran
Returning to this yet again. Some of my favourite work in this vein has been taking at family gatherings like Christmas, birthdays and funerals. The people know and trust my work, I have their trust, and they relax around me. No offence to @Yokosuka Mike, but I don't think those are the kinds of photos he is after. I think the OP's attraction to Nan Goldin's work is its emotional nature, which comes from shooting people who know and trust you. Especially in her social group, which was largely dismissed, stigmatized and rejected by the general public at the time.
To get this kind of human, emotional quality with strangers, you have to go beyond just 'shooting people' and look for the stories in the images, the experessions of people's faces and how they relate to their environmental context. I'm hugely fond of the work of Elliot Erwitt, Kertesz and Bresson, as well as Daido Moriyama and Fan Ho. There's artistry in their composition, subject choices, film and processing choices, and understanding of light. For me, these artists created very evocative images that went beyond the average photograph.
To get this kind of human, emotional quality with strangers, you have to go beyond just 'shooting people' and look for the stories in the images, the experessions of people's faces and how they relate to their environmental context. I'm hugely fond of the work of Elliot Erwitt, Kertesz and Bresson, as well as Daido Moriyama and Fan Ho. There's artistry in their composition, subject choices, film and processing choices, and understanding of light. For me, these artists created very evocative images that went beyond the average photograph.
farlymac
PF McFarland
One thing is, you don't want to be labeled as that guy trying to copy Nan Goldin. Just start experimenting until you hit upon whatever it is you are looking for. And hope it's different enough from other's work to stand on its own.
PF
PF
Bill Clark
Veteran
You need to decide that.
May I suggest finding a successful photographer who shares your ideas, your philosophy of life and is willing to help you, be your coach and mentor.
Everyone has their own ideas, opinions, on what and how to photograph. If you listen to many of them, all you’ll end up with is confusion.
I started a photography business around 2002 but, now at 71 years old, I’m retired. I found that photographing people turned out to be the best for me. I was lucky, meeting this gentleman who was my coach, teacher and mentor:
https://en.m.wikipedia.org/wiki/Monte_Zucker
I was focused on using photography as a business. I was honored to have a client hire me as I considered it a privilege to be the one making photographs of an important, usually once in a lifetime event.
At any rate, my thoughts and what helped me was finding Monte.
My suggestion is for you to find someone who is willing to help you with your photography journey.
Ste_S
Well-known
More than anything it sounds as though the OP doesn’t know why they’re taking photos. Or the subjects they’re taking don’t mean anything to them.
Go and take photos of stuff that means something to you rather than trying to copy someone else. Worry about technique and cameras later (if at all)
Go and take photos of stuff that means something to you rather than trying to copy someone else. Worry about technique and cameras later (if at all)
ka7197
Established
Even if he tried real hard, he won't. Simply because he isn't Nan Goldin. Starting out with her style in mind would imediately and inevitably lead to his own style ... inspired by her work but no copy thereof.
Let me guess ... you didn't bother to follow the links I provided in post #12, did you?
PhotoGog
-
Take drugs. Have sex. Forget photography.
leicapixie
Well-known
I have taught photography to young and adult people.
The problem I saw and see, even with friends on walkabouts,
is that the they CANNOT see photos..
to actually make "them" press the shutter button..
It's not equipment, available time, or studying with a great teacher.
Study art, especially the Impressionists, Dutch school and as many images of the great Photographers..
Nan Goldin was involved with those folks.
I don't like her work (YVMV) and mostly hate the new "art" photography.
I was a PJ also doing Fashion, Documentary and Portraits..
Go with digital, small and compact and shoot like crazy!
Think out a project, "A photo a day", Portraits of dear friends or city scenes.
Maybe after a year or more a theme will show.
The problem I saw and see, even with friends on walkabouts,
is that the they CANNOT see photos..
to actually make "them" press the shutter button..
It's not equipment, available time, or studying with a great teacher.
Study art, especially the Impressionists, Dutch school and as many images of the great Photographers..
Nan Goldin was involved with those folks.
I don't like her work (YVMV) and mostly hate the new "art" photography.
I was a PJ also doing Fashion, Documentary and Portraits..
Go with digital, small and compact and shoot like crazy!
Think out a project, "A photo a day", Portraits of dear friends or city scenes.
Maybe after a year or more a theme will show.
thart2009
Tom Hart
When I find myself in a funk, not feeling particularly creative, and simply not taking any shots, I shoot still lifes. I don't like shooting still lifes, but I begin to focus on composition and lighting. I start playing with dof. And I don't have to leave the house! Somehow this usually pulls me out of it and I start clicking again.
Phil mentioned taking a drawing class, or painting class. Good ideas! Some simple alternative/historical processes can pull me out of a funk too. Lumen prints. Cyanotypes or anthotypes.
The OP didn't say they were in a 'funk', but that's what it sounds like to me.
Phil mentioned taking a drawing class, or painting class. Good ideas! Some simple alternative/historical processes can pull me out of a funk too. Lumen prints. Cyanotypes or anthotypes.
The OP didn't say they were in a 'funk', but that's what it sounds like to me.
pauld111
Well-known
Or learn how to draw on your own. And suppliment this with the reading of a few books on composition, like the following 3.
Practical Pictoral composition by E. G. Lutz
The art of color and design by Maitland Graves
Composing Pictures by Donald W. Graham