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Street Photography "Getting Caught " open


mikeleng

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Just wondered if you have been close to getting caught on the street while taking photographs .If you have how do you deal with it .I have never been told to stop taking photographs, but I have been eyed by a few people, as per the following posts .I mostly use 28mm on the Digilux 2 and 28mm + 35mm on my Leica M's  so I'm close to the general public while shooting .Is this suitable for an open topic, just wanted your views on this .

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Early one morning near Times Square, street shooting with Adam Miller, one person intentionally pushed Adam''s camera into his face.  One day in Grand Central my target indicated she didn't want to me shot as I shot her.  Generally, I try to catch people unaware, and if I think I/m spotted I continue looking the viewfinder as I pass away.

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If you draw attention to yourself then you're maybe doing it wrong. We see all these threads about people taping over their Leica logo on their cameras to be 'stealthy' but it's the way you act in person that is much more likely to draw attention.

If I am spotted I will sometimes just take the shot and and look at something in the distance, avoiding eye contact and carrying on regardless. I might give a smile and nod to the person if they were the main subject or sometimes I will engage and discuss what I'm doing (and this sometimes leads to some better photos and stories). It all depends, there's no right or wrong way to deal with it.

Edited by earleygallery
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There are no rules really, other than know how to interact with people. That is true whether you are using a camera or not.

My MO changes regularly. Currently I am favouring a 15mm lens. Because that puts me so close to people and I favour subjects off-centre, my target often thinks I am NOT including them! After shooting them I sometimes engage my subject in conversation and extract more 'aware' images.

Importantly, use a style that you are comfortable with, otherwise you will not succeed.

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Thank you Erl, James, Stuart for your valued comments, it seems you all have the confidence on the street, with each of you listing your own way of capturing such amazing photographs .Another conversation if I might ask you .I've been taking street photographs for the last eight years, it coincides with my purchases of Leica equipment .Is it the presence of the smaller cameras/lenses that allows you to be accepted within people and their spaces .And also do you wonder sometimes that moment when you press the shutter that your images captured were meant to happen .That "Decisive Moment " as per HCB . the image below is made better by the guy in the background, this is just my take, if you have your own opinion on this, then let me know . Please feel free to post your own images and words, you can never stop learning by looking at other peoples comments and images .

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Edited by mikeleng
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Sometimes one is 'clocked', resulting in a beady stare...  (X-Vario)

 

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1 minute ago, Keith (M) said:

Sometimes one is 'clocked', resulting in a beady stare...  (X-Vario)

 

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I like it Keith, she looks a real character, keep them coming .

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23 minutes ago, mikeleng said:

Thank you Erl, James, Stuart for your valued comments, it seems you all have the confidence on the street, with each of you listing your own way of capturing such amazing photographs .Another conversation if I might ask you .I've been taking street photographs for the last eight years, it coincides with my purchases of Leica equipment .Is it the presence of the smaller cameras/lenses that allows you to be accepted within people and their spaces .And also do you wonder sometimes that moment when you press the shutter that your images captured were meant to happen .That "Decisive Moment " as per HCB . the image below is made better by the guy in the background, this is just my take, if you have your own opinion on this, then let me know . Please feel free to post your own images and words, you can never stop learning by looking at other peoples comments and images .

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Gent on the left looks like Chuck Connors!  A double take moment :)

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I've used a lot of different cameras doing "street," and and for me size seems to matter only a little bit.  Sometimes, just being so obviously a foreigner (such as when touring markets and other public places in countries where we are unusual, such as those in Southeast Asia, it's useful to let Barbara and our guide get a head of me two to five meters so that the locals' attention are on her rather than me.

Here's a tip that may help people too shy to street shoot:  If somebody is so clearly dressed to attract attention, and you want a good shot of them, just complement them on their look and ask to take a photo.

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Back in November 2011, I had the privilege of being sent by the paper I worked for - The Sunday Herald - to document the plight of the people who have to live in the slums of Nairobi. Every Christmas the paper has an appeal, where they do a double page spread across two consecutive issues, and, to be fair, they always raise a decent sum of money from the readers for the charity. In this case it was Concern Worldwide.

I got a lot of pictures, the people in the slums were mostly incredibly nice to me and the reporter, when they had no reason to be. We were a couple of white western guys who had flown in from a life of unimaginable privilege. It was humbling to be in those slums, and to get some perspective of how lucky some of us really are, mostly by accident of birth.

In the Korogocho slum, I took this picture. I could only be in that slum because I had a guide. It's one of the most dangerous slums in Kenya. Even the police don't venture in there unless they really have to. This woman had been stabbed. Her mobile phone and her flip-flops had been stolen. To stab someone for their plastic flip-flops, to me that's mind-blowing.

People were glaring at me for taking this picture. You can see it. Some of them, doubtless hated me, and all I represented. And who could blame them? But it felt like an important picture to take and, in this case, I don't think it matters that I was clocked. 

If you look through Robert Frank's The Americans, there are pictures of people looking at the camera, and some are far from happy. But sometimes you should just take the picture.

 

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Edited by colint544
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1 hour ago, colint544 said:

Back in November 2011, I had the privilege of being sent by the paper I worked for - The Sunday Herald - to document the plight of the people who have to live in the slums of Nairobi. Every Christmas the paper has an appeal, where they do a double page spread across two consecutive issues, and, to be fair, they always raise a decent sum of money from the readers for the charity. In this case it was Concern Worldwide.

I got a lot of pictures, the people in the slums were mostly incredibly nice to me and the reporter, when they had no reason to be. We were a couple of white western guys who had flown in from a life of unimaginable privilege. It was humbling to be in those slums, and to get some perspective of how lucky some of us really are, mostly by accident of birth.

In the Korogocho slum, I took this picture. I could only be in that slum because I had a guide. It's one of the most dangerous slums in Kenya. Even the police don't venture in there unless they really have to. This woman had been stabbed. Her mobile phone and her flip-flops had been stolen. To stab someone for their plastic flip-flops, to me that's mind-blowing.

People were glaring at me for taking this picture. You can see it. Some of them, doubtless hated me, and all I represented. And who could blame them? But it felt like an important picture to take and, in this case, I don't think it matters that I was clocked. 

If you look through Robert Frank's The Americans, there are pictures of people looking at the camera, and some are far from happy. But sometimes you should just take the picture.

 

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This is on a whole different level compared to the type of street photography most of us are thinking about. Powerful image.

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2 hours ago, mikeleng said:

Thank you Erl, James, Stuart for your valued comments, it seems you all have the confidence on the street, with each of you listing your own way of capturing such amazing photographs .Another conversation if I might ask you .I've been taking street photographs for the last eight years, it coincides with my purchases of Leica equipment .Is it the presence of the smaller cameras/lenses that allows you to be accepted within people and their spaces .And also do you wonder sometimes that moment when you press the shutter that your images captured were meant to happen .That "Decisive Moment " as per HCB . the image below is made better by the guy in the background, this is just my take, if you have your own opinion on this, then let me know . Please feel free to post your own images and words, you can never stop learning by looking at other peoples comments and images .

I guess using a Leica (M not SL) can help, especially these days as it looks like some old camera, compared to say an SL with the standard zoom or similar sized DSLR's. That said I've taken street photos with SLR's. Again I think it really comes down more to how one operates in a given situation - it includes things like how you dress, do you 'fit in' to people around you, are you relaxed and acting casually etc. I'm no expert on street photography but I've not really had any problems of the type that some have had with angry or suspicious people. I guess I'm naturally a shy kind of person too, so it can be a challenge, but then that makes it more interesting at the same time!

As for the decisive moment, HCB would usually shoot a number of frames in quick succession, he wasn't a master at pressing the shutter at precisely the right time! You can find contact sheets for some of his better known photo's showing the outtakes. Of course we can all get lucky with the quick grap shot, but you sometimes see a scene that would make a good photo and wait for things to fall into place.

I will try and find a couple of examples of my own to back up what I'm saying...

 

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13 minutes ago, colint544 said:

Back in November 2011, I had the privilege of being sent by the paper I worked for - The Sunday Herald - to document the plight of the people who have to live in the slums of Nairobi. Every Christmas the paper has an appeal, where they do a double page spread across two consecutive issues, and, to be fair, they always raise a decent sum of money from the readers for the charity. In this case it was Concern Worldwide.

I got a lot of pictures, the people in the slums were mostly incredibly nice to me and the reporter, when they had no reason to be. We were a couple of white western guys who had flown in from a life of unimaginable privilege. It was humbling to be in those slums, and to get some perspective of how lucky some of us really are, mostly by accident of birth.

In the Korogocho slum, I took this picture. I could only be in that slum because I had a guide. It's one of the most dangerous slums in Kenya. Even the police don't venture in there unless they really have to. This woman had been stabbed. Her mobile phone and her flip-flops had been stolen. To stab someone for their plastic flip-flops, to me that's mind-blowing.

People were glaring at me for taking this picture. You can see it. Some of them, doubtless hated me, and all I represented. And who could blame them? But it felt like an important picture to take and, in this case, I don't think it matters that I was clocked. 

If you look through Robert Frank's The Americans, there are pictures of people looking at the camera, and some are far from happy. But sometimes you should just take the picture.

 

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I love your detailed explanation of this photograph, I don't think I could have taken it, how you didn't break down I don't know, thanks for sharing excellent Colin

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This is an example of seeing a shot and waiting for it. I noticed people would climb inside this sculpture and look out through the eyes, so spent a little while watching and shooting. The guy on the bike was a lucky addition!

This guy was approaching people and talking about the 'brochures' he had - he was getting different reactions from people and I tried to take a few shots. He noticed me at one point and I asked what he was selling. Turned out he was a student musician and the brochures were little magazines he had written - lyrics/poems etc, and selling to raise funds for his studies. I bought one in exchange for him posing for another shot. I sent him the shots I'd taken.

This is just as an example of 'fitting in' - I was at a music festival (always good for candid photos) and dressed like any other festival goer you can see that nobody is looking at me taking photos - of course cameras are commonplace at festivals and which also helps, and people are there to have a good time and are generally relaxed.

Edited by earleygallery
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16 minutes ago, earleygallery said:

I guess using a Leica (M not SL) can help, especially these days as it looks like some old camera, compared to say an SL with the standard zoom or similar sized DSLR's. That said I've taken street photos with SLR's. Again I think it really comes down more to how one operates in a given situation - it includes things like how you dress, do you 'fit in' to people around you, are you relaxed and acting casually etc. I'm no expert on street photography but I've not really had any problems of the type that some have had with angry or suspicious people. I guess I'm naturally a shy kind of person too, so it can be a challenge, but then that makes it more interesting at the same time!

As for the decisive moment, HCB would usually shoot a number of frames in quick succession, he wasn't a master at pressing the shutter at precisely the right time! You can find contact sheets for some of his better known photo's showing the outtakes. Of course we can all get lucky with the quick grap shot, but you sometimes see a scene that would make a good photo and wait for things to fall into place.

I will try and find a couple of examples of my own to back up what I'm saying...

 

Thanks James, I think your right about seeing a scene that would make a good photograph, I've stood there waiting for the right moment .I like the explanations from you guys .

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8 minutes ago, earleygallery said:

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Excellent James, I like the first one best, it's the guy on the bike, his arm leads me to the boy. I don't know what the terminology of this is, but it enhances the photograph .   

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Very interesting to see everyones comments and images on this topic. I've been at this street thing for a while now and initially had the same experiences you've mentioned when someone would notice that I may be taking their picture. Discomfort. Some shame. Maybe a little fear.

I eventually became better at it and started to use the same tricks as have already been mentioned. Pretending to take pictures of something else, maybe something behind the actual subject. Panning endlessly and appearing to take pictures of many other things when actually only engaging the shutter when my subject was in the frame.

After a few years of that deception, it occurred to me that most of the images that involved eye contact had a certain energy different than some of my other street shots. Also, by this time, I had gained quite a bit of confidence in my abilities and presence. Having that confidence with me when I shoot street, I now will seek out the "being discovered" moment on purpose. Often waiting for it or forcing it through stepping directly in their view, framing, focusing, shooting and strolling away as if nothing special happened. Here are some examples of those shots:

 

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3 hours ago, tuna said:

Very interesting to see everyones comments and images on this topic. I've been at this street thing for a while now and initially had the same experiences you've mentioned when someone would notice that I may be taking their picture. Discomfort. Some shame. Maybe a little fear.

I eventually became better at it and started to use the same tricks as have already been mentioned. Pretending to take pictures of something else, maybe something behind the actual subject. Panning endlessly and appearing to take pictures of many other things when actually only engaging the shutter when my subject was in the frame.

After a few years of that deception, it occurred to me that most of the images that involved eye contact had a certain energy different than some of my other street shots. Also, by this time, I had gained quite a bit of confidence in my abilities and presence. Having that confidence with me when I shoot street, I now will seek out the "being discovered" moment on purpose. Often waiting for it or forcing it through stepping directly in their view, framing, focusing, shooting and strolling away as if nothing special happened. Here are some examples of those shots:

 

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I like your take on this topic Tuna, you’ve certainly got some great photographs here, each one different

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This chap was in a relaxed mood whereas the lottery ticket seller (second photo) was on the alert.  M240, 50mm Summilux-M ASPH.

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