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street photography, 對於任何一個攝影者來說都應該是不容易的，但又是極具吸引力的一個攝影題材，轉貼來一些討論，也許會有所幫助，有些問題相信我們都想到了，也許已經有了自己的解決辦法， 那麼，看看他們是如何去處理的吧。
Everything you've ever wanted to know about street photography, but were afraid to ask...
A simple question about a sometimes controversial form of photography sparked a great discussion.
I am a street shooter among other things interested in talking to others of a similar ilk. I don't have much of an opportunity to talk to other street shooters.
A. This is a subject that is near and dear to me. I'm interested in how you (and other street photogs) handle people reacting to being photographed by them. I've been shooting on the street since 1976, and learned from Garry Winogrand, who had no fear. Being basically a shy person, I had to really break through some internal barriers before I was comfortable approaching strangers with my camera. But watching Garry made a difference. He was always interested in people and made the camera a part of his personal interactions. He also had an unobtrusive technique. I still am in awe of how he could carry on an animated conversation with someone 2 feet away, shoot a couple of dozen of shots of them and they didn't seem aware he was taking pictures of them the entire time! So the experience with GW gave me a good example to follow.
I've generally had either good reactions or no reactions, although I've had a couple of negative reactions over the years One guy demanded my film. He looked serious, and had an ominous-looking bulge in his trench coat, so I gave it to him and ran. Fortunately, it was the beginning of the roll. Another time, a guy cursed me out and shoved me hard after I'd photographed him and his female companion. Anyone else want to add their experiences, good and bad?
-Mason Resnick
A. I know that when I started shooting I was sure that I wouldn't speak with anyone, but quickly and unobtrusively get my shots. But the more I became involved in the street the more I began to have relationships that allowed me an intimacy that I didn't know would be possible there. I still wouldn't say I have 'one' way of working, and now I don't rule anything out.
-michael manning
A. The number one rule, I beleve, is don't be sneaky. You are using people for your own ends, so they deserve to know what you are up to. My exeperience working in urban photography has been that people are mostly nice when you talk to them. Ask permission when it seems appropriate. If you are just shooting the passing scene people don't care. "Grab" shots tend to look like a sneak took them. Eye contact makes all the difference in a good image. You are the exploiter - it isn't called "taking pictures" for nothing.
-Alan Zinn
A. Alan Zinn wrote: "...You are the exploiter - it isn't called "taking pictures" for nothing."
Looks like you've been reading Susan Sontag's "On Photography"! (BTW/slightly off topic, but OP is a great book about the theoretical/philosophical aspects of photography by a non-photographer.)
-Mason Resnick (mresnick@gramercy.ios.com) on April 11, 1997.
A. A question I have of other street photographers is what you do personally about model releases. I have exhibited select works in group shows, but I have plans on a show of my own work. Though I know I should contact an attorney to find out exactly what my legal obligation is, I am curious as to what other street photographers who exhibit or publish their work do. I know where I stand in regards to commmercial use without a model release, but I am unclear about it when it comes to exhibitions and monographs. I'm going to do some shooting this weekend. I am very much looking forward to it.
I am just learning about scanning images and building websites. So, within the next several months I hope to have a site up to show some of my work.
In regards to shooting a photograph when someone is looking directly into the cammera, there are some fine examples of that. One such photo is Robert Frank's "The Americans". It is a shot of a service man with his wife or girlfriend crossing the street. They are just about to reach the curb where Frank is standnig. There is no hard and fast rule that says that you can't take an effective picture when someone is looking straight into the camera. Like anything the photograph will work on the some of its parts. Though an expression can be an important part of a photograph there are many other things that are involved as well. Composition, lighting and the juxtapostion of subject to their surroundings. IT is hard to describe on this computer screen. But most of us know it when we see it. "It just works" Sometimes even if it breaks the rules.
-Ibarionex
A. Re: Ibarionex: There's some confusion here....Ted was talking about shooting from the hip when someone is close and looking right at you. Not raising the camera to your eye, but opting for a shot that would be unnoticed by the subject. For me eye contact is vital, and was wondering what kind of imagery results from this style of shooting. I was asking for examples of images taken without looking through the camera, without eye contact. I'm still interested in seeing some imagery taken this way. Robert Frank may have shot from the hip, I couldn't say for sure. He was probably so fast and quiet with his Leica that it wasn't neccessary.
-michael manning (meandro@istar.ca) on April 12, 1997.
A. Gary Winogrand was indeed a master - I've seen a video of him walking down the street seemingly just fiddling w/his camera, and yet the whole time he was photographing. How wonderful. I myself have an extremely difficult time pointing my camera at people on the street. My feelings are either that I'm invading someone's space or privacy, or, worse, that I'm exploiting their unfortunate situation (e.g., homeless people). If I were doing a photo project to publisize their situation and doing something to help them then I might feel justified, but otherwise I feel like I'm treating them as if the street is a zoo and they're the animals. Because of this I've missed an incredible number of photos. For instance, I was in India last year and I just couldn't bring myself to photograph the incredibly poor people living in hovels along the streets of several large cities. I already felt conspicuous as a "rich" white person, and worried that they'd feel demeaned by my recording their situation on film. Curiously, if I had my camera out children would often clamor to have their picture taken, so I found at least some of my discomfort was my imaginings of what they'd feel, not necessarily what they really did feel.
Mason and others who regularly shoot on the streets - do you ever feel this way? How do you justify making your photos anyway? Do you avoid shooting certain people or subjects because you feel it would be too intrusive, or does anything go? Is the way to shoot to be quick and keep walking so people don't feel conspicuous even if you're photographing them? Does anyone regularly ask people permission to photograph them?
Great discussion - I'm glad someone brought up the subject.
-Cindy Stokes
A. I've found an easy way to do street photography. I have a small AE/AF camera on which I put a 28mm lens. I simply walk down the street looking like a tourist I keep my hand on the camera and when I see a shot I shoot without raising the camera to my eye. The camera is very quite and is motorized. People never know they're being photographed even when you're close. The wide angle gives me depth of field latitude and I don't have to have perfect aim. If you do it right you don't have to be looking at the subject when you shoot. I do this because I feel strange sticking a camera in someone's face.
-Ted Felton
A. Ted, in regards to your method, I think that you could come up with something this way. Maybe. But eventually don't you want that feeling of knowing that you got a particular shot? I love the hand to eye to brain connection. I need that camera as a vehicle for my 'vision'. I also think that your satisfaction with your shots would grow as you began to actually optically chose them
-Michael Manning
A. The system is not as haphazd as it sounds. With practice you can be pretty certain as to what is in the shot. Also, regular shooting is used when appropriate. It's when someone is close and looking right at you that you don't point a camera at their face.
-Ted Felton
A. I wasn't saying it was haphazard I'm just not sure about the approach and resulting imagery. What kind of imagery results? And how often is it successful? I'm curious because it's not something I've done much of. Why not point the camera at someone's face? Is that the image you want? Do you have any examples of images taken in this way? Does anyone know of well known images taken in this way? I'd be interested in hearing.
-Micheal Manning
You asked a lot of questions so I'll take them in random order.
A. Under the circumstances we are talking about, when someone sees you point a camera at them their facial expression changes. That is not the image I want. I don't know of any specific famous images taken that way, but somebody must. Not looking through the camera when taking a picture is not unheard of in news photography, for example. As far as results and frequency of success are concerned, that's very, very subjective. Am I happy with the images? Yes. How offen am I successful? Most of the time. I think the bottom line is if you have questions, try it yourself. It can only cost a roll of film and some time.
-Ted Felton
A. Ted, have you seen Ken Heyman's book "Grab Shot"? It is composed entirely of photos taken without the photographer looking through the veiwfinder, using an early P&S camera. I spoke with Ken on an assignment many years ago, and he said he took on the project to jog his creative juices. He said that since then, he considered the palm of his hand to be his "third eye". BTW, just for the record...Garry Winogrand ALWAYS looked through the finder when shooting, and he even gave me quite a verbal lashing when he saw me try to shoot without looking!
So there are two contrasting approaches. Judging by the end results, both seem valid.
-Mason Resnick
A. I've always had one rule regarding pictures: when you hang a photo on the wall for someone to look at the most important thing at that moment is the impact the photo has on them and their reaction to it. Do they like it or don't they. How you go the picture is meaningless and that should not the the concern of the viewer. I've never thought it was necessary for the viewer to know what f: stop I used, which lens, what film, etc., and the last thing they should think of is if I looked through the view finder or not. The final image is everything.
-Ted E. Felton
A. Hear hear. Well put Ted, I couldn't agree with you more. For me photography is art and it should impact people whether it is in a good way or bad, whether in colour or BW or even if it is printed on RC paper!!!!
-Andy Laycock
A. Didn't Lord Snowdon have a special lens that allowed him to take candid shots of people. I believe he took shots 90 degrees from where the camera and lens were pointing. I remember an excellent example of an old lady completely unware that her photograph was being taken.
-Chris Mills
A. How lucky you were to shoot w/ GW. I love his work. Shooting street photography in L.A. is difficult because most people on the street just don't trust others with cameras.
-Robert Ades
A. I do a lot of street photography in New York City where I live. I have found that always smiling and acting friendly goes a long way in avoiding confrontation on the street. I have found that using long lenses is another way to keep from having people's expressions change when they realize that they are being photographed, because they simply don't know they're being shot a good deal of the time. (I use 70-200 2.8 on the street mainly). Also, if someone looks at me while I'm shooting and seems to be alarmed that I'm shooting them, I'll make sure to look away from them when I take the camera down from my face, as if it was something else (behind them, for example) that I was shooting, and not them. This also works well.
-ron purdy
A. My first extensive experience with street photography is when I began a project documenting downtown Los Angeles, particularly a street called Broadway. It was a street where I had spent a lot of time in my youth. I have a strong affinity to the area and so it was sort of a perfect subject for me to capture with my camera. I was terrified when I first started going out there to shoot, but I forced myself to. I went practically every weekend to shoot for 2-4 hours. I did that for eight months. I shot everything on Kodachrome 64 and 200. I had several bricks left over from another project I had worked on. But it ended up being the perfect choice for this area. The colors that exists in that area are as much a characteristic of the area as the people that walk up and down the street.
I shot primarily with a 35mm lens on an F4 camera and occassionaly an F3. I used autofocus for the most part but I am now presetting focus more and more. )That millisecond delay can mean all the difference between getting the shot and not.) I rarely approached people to take their photographs. Often times, I would see a moment of synchronicity before, and I would try to capture it with the camera. After a while, I was sometimes was able to sense when something was about to occur. I would just wait for it to happen and then snap the picture. Some days produced wonderful results. Others left me wanting to bury my camera in a six-foot deep hole.
I love Winnogrand's work among many others. I would love to hear more about your experiences with him. I saw some television program on photography which focused on him. I saw how he could quickly bring the camera to his face and snap the picture. He was fast. When I saw that, I finally understood how he created so many of his photographs without the seeming awareness of his subject. I was interested to hear that he approached many of subjects and spoke with them as he was taking his photographs.
I am really curious about this. I am very shy myself and I am very curious as what his approach was when it came to this. I would love to hear the details as well as you and any other street shooter. If you know of any websites dedicated to this type of photography please e-mail me. I love to see other's work. It is alwasy a great source of inspiration.
-Ibarionex
A. I know this is a bit late for your trip to NYC, but for anyone into street shooting, here are some of my favorite spots to hang out and photograph the crowds: 34th St. & 7th Ave. 34th St. & 6th Ave. (southwest corner) 5th Ave. near Rockefeller Center, Nassau Street Mall (Lower manhattan) Broadway & 57th St. (southeast corner) 59th St. & Lexington Ave. 6th Ave. & 47th St. (Southeast corner). I like these areas especially during lunch hours or rush hour, because they are jammed and full of action.
If you prefer simpler images, try side streets, not the corners.
-Mason Resnick
A. I haven't tried my hand at street photography but I really love some of the results that I have seen. I don't know of any websites dedicated to it but I wanted to give a plug to two under-acknowledged masters that photographed in New York in the 40's onwards (I think). They are the African-American photographer Roy De Carava and Helen Levitt. De Carava is probably best known for his portraits of jazz musicians but some of his work from his mainly black neighbourhood is incredible. Helen Levitt was influenced by the likes of Walker Evans (as everyone was) and her subjects were primarily children in the poorer sections of New York. Despite the obvious poverty the children behave just as children do everywhere and she has captured the magic. She has that special gift of predicting the 'decisive moment'. If anyone finds a site with their work I would appreciate knowing it.
-Andy Laycock
A. I had the pleasure of meeting and talking with Roy DeCarava a couple of months of ago when he was visiting Los Angeles. It was nothing short of inspiring. He is a wonderful photographer and a very generous human being. He loves talking about photography, but most importantly about the human experience behind and in front of the camera. That is of course what makes a photograph more than a photograph. You have to invest a part of yourself, your soul in what you are doing otherwise the image is empty. It can correctly exposed, tightly cropped, beautifully printed, but it won't mean that it is a good photograph. I find that when it comes to my work on the street, it's either their or not. Helen Levitt-I love.
Gary Winnogrand. Roy DeCarava. Leonard Freed. Their are many photographers that serve as an inspiration.
When I am walking down the street, I never know what specifically I am looking for. I am often waiting for that feeling in my gut that tells that something that happens before me is something to be photographed. Sometimes, I become aware that something is "about to happen" . . . that's wonderful. Other times it happens, I have a millisecond to react. Sometimes, it works and many times it doesn't. But when it works it makes the whole process worthwhile. But you have to be out there shooting.
It's a very difficult decision sometime whether to photograph or not. Sometimes, I let fear get in the way. I am afraid of a person's reaction. Sometimes I shoot and if the person is aware of me I smile and nod my head in appreciation. Depending on how comfortable I am feeling with myself, I will approach someone and talk to them, particularly if I want to do a portrait of them. But I have to be in a good place in regards to how I am feeling about myself. If I am insecure and doubtful about myself, most of my pictures don't work. When I am, I am in the zone and it is happening.
When you take a picture of someone, you are taking something from them. There are no two ways about it. So where you are with yourself can make all the difference. You have to think about what you are doing, why you are doing it and how you feel about it?
I guess that goes with anything in life. When I am in the streets and everything is right on, I feel alive and in sync with the world around me. I am in a place that I often don't experience elsewhere. It's a rush but peaceful at the same time. It's like a runner hits a certain point where he has reached where he is just cruising. I could talk for days on this. I better shut up. But please e-mail me directly if you want to talk some more.
-Ibarionex
A. Ibarionex wrote: "When you take a picture of someone, you are taking something from them. There are no two ways about it. So where you are with yourself can make all the difference. You have to think about what you are doing, why you are doing it and how you feel about it? "
I think that is one of the most concise ways of expressing the experience of doing street photography. You need to be comfortable with what you're doing; if you're not, the pictures will show it and the sense of unease will be projected unto the people being photographed.
On the other hand, if you're in the "zone" that you mention in your post, moments, vision and comfort levels tend to converge, and great images can result!
I've experienced both the discomfort and the "zone". The Zone is better.
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