Guest malland Posted October 22, 2007 Share #81 Posted October 22, 2007 Advertisement (gone after registration) I like a lot of Mitch's stuff, but at the risk of being misinterpreted as negative I have to agree with Gs. I have been working with Ben Lifson, and he recently pointed out that a lot of my pictures are too generalized: people walking, people sitting, people standing, etc. I had not thought about it before and it hit me like a slap in the face. Even with great form, there needs to be something of interest, something happening, a story being told, etc. Otherwise it ends up being equivalent to a great vacation picture: you like it because you were there, but to others it's attractive but not interesting.George, I don't think that you're being negative: I've had the same thoughts about the danger of making meanignless photohraphs of people walking past one. My feeling, however, is that a photograph best works like a poem in which the form is part of the meaning. But I don't think that there necessarily needs to be a story if the form carries through to the mood and the statement being made — it's an idea that is difficult to express because it is best made graphically. —Mitch/Paris Mitch Alland's slideshow on Flickr Link to post Share on other sites More sharing options...
Advertisement Posted October 22, 2007 Posted October 22, 2007 Hi Guest malland, Take a look here Street Shooting with Peter Turnley. I'm sure you'll find what you were looking for!
mat_mcdermott Posted October 22, 2007 Share #82 Posted October 22, 2007 Otherwise it ends up being equivalent to a great vacation picture: you like it because you were there, but to others it's attractive but not interesting. While I think this is sometimes the case with generalized images of people sitting, standing, whatever they are doing in public--being interesting to you but not to others--I've been surprised with my own work when an image which I think is borderline in this regards but still compelling gets a very positive reaction from other people. Other people sometimes see into the photo more than you do, picking out meaning that you never intended. And other times when you try to have too much of a point, it becomes so obvious that the photo is trite or has an air of trying too hard to express something. But then again, I suppose the quality of the photograph is only as good as the quality of the point you're trying to make and I'm reacting to bad (or at least tired) concept as much as bad image. Link to post Share on other sites More sharing options...
charlesphoto99 Posted October 22, 2007 Share #83 Posted October 22, 2007 Mitch, Last year, after many iterations and edits, I finally convinced my publisher to do a book of my Vietnam photographs. Two months later they changed their minds and decided it just wasn't a marketable enough book, despite great images. Part of the problem was my lack of a "conceptual filter" something that pulled all of the images together and made them stand apart, something that could be talked and written about besides my love of that country and my numerous trips there. I didn't make it easy on myself either - I shot 35 and 120 and b&w and color in both formats. I think I pulled it all together into a pretty cohesive body of work, but looking back at it now, I will probably need to take a few more trips and will probably focus on the "street portraits" I've been doing with my Rollei TLR, as these seem to be the strongest series (according to my pub). Of course the consequence of that is throwing away many great images taken on hundreds of rolls of film at the expense of much time and $. But so it goes. My new book will be on breakdancers, coming out next fall. All shot on b&w 6x6 and 6x7 medium format b&w film (except for four images on 35) I spent a couple of months narrowing down from 500 or so images to about 100. And then I cut 20 more. I usually work in Indesign to edit, esp as I sometimes crop pictures for maximum effect (whilst trying to retain original intent) or to cover a dbl page spread, etc. This also allows one to easily sequence and see how pictures work with each other. I'll also often go back to the files and do a once over several times, as one can miss pictures the first time that only become obvious as one edits. I also find that it's too easy to get hung up on the "street" aspect of candid shooting. Sometimes one needs to hang out, shoot the breeze and then get the picture. Case in point here: I found this woman fascinating - she was hanging out at the temple on the lake in the center of Hanoi. It's a place locals gather in the evenings. she fancied herself a fortune teller, but was obviously a bit "touched." Not crazy, just not all there. She wouldn't let me take her picture, but I hung out and talked with some young people there. taking some other portraits. She read my fortune for me (wrote it down) and then I was able to capture her in an unguarded moment. She never knew I took her picture and everyone went away happy. But this took about an hour and a half. So sometimes it's good to settle in instead of just constant roaming. And I agree that street fairs are boring. But a good place to start for novices. I guess I was referring to more like Chattachuk market or to actual festivals where people's guard tends to be let down.. Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/36051-street-shooting-with-peter-turnley/?do=findComment&comment=382878'>More sharing options...
charlesphoto99 Posted October 22, 2007 Share #84 Posted October 22, 2007 Oh, and while we're at it. Here's a fun picture from a camera repair shop in Haoi. Apparantly the owner can't bring himself to sell anything. But I think this is a good example of a pic of inanimate objects telling a story. Link to post Share on other sites More sharing options...
charlesphoto99 Posted October 22, 2007 Share #85 Posted October 22, 2007 oops Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/36051-street-shooting-with-peter-turnley/?do=findComment&comment=382887'>More sharing options...
gesper Posted October 22, 2007 Share #86 Posted October 22, 2007 George, I don't think that you're being negative: I've had the same thoughts about the danger of making meanignless photohraphs of people walking past one. My feeling, however, is that a photograph best works like a poem in which the form is part of the meaning. But I don't think that there necessarily needs to be a story if the form carries through to the mood and the statement being made — it's an idea that is difficult to express because it is best made graphically. —Mitch/Paris Mitch Alland's slideshow on Flickr Probably a better way to put it is that there be a potential for a story rather than an actual apparent story. In other words, there is a hint in the person's appearance, gesture, expression, etc. that makes you question or imagine what is going on beyond their presence on the street. Hard to explain, and even harder to capture My general approach is to take pictures of people who I think look interesting (which to me is most people). Sometimes I catch them exactly when they do something interesting, and other times I don't (i.e., most of the time). Even so, they still look interesting to me, but not necessarily to others. I'll post some examples when I get home tonight. Link to post Share on other sites More sharing options...
Guest malland Posted October 22, 2007 Share #87 Posted October 22, 2007 Advertisement (gone after registration) ...I also find that it's too easy to get hung up on the "street" aspect of candid shooting. Sometimes one needs to hang out, shoot the breeze and then get the picture. Case in point here: I found this woman fascinating - she was hanging out at the temple on the lake in the center of Hanoi...I like your picture, Charles. My own approach is that I don't really think of what I'm doing as street photography in the sense that I don't look for interesting people as such; rather, I'm driven by form in the sense that I tend to shoot most successfully when everything comes together and I "feel the form" when I press the shutter. Out of the current 150 pictures in my book project one-third of the pictures are not of people. But in any case I'll have to go back and do another edit and I have to make sure that I haven't diluted the concept as I've added pictures. —Mitch/Paris http://www.flickr.com/photos/10268776@N00/ Link to post Share on other sites More sharing options...
Guest malland Posted October 22, 2007 Share #88 Posted October 22, 2007 Probably a better way to put it is that there be a potential for a story rather than an actual apparent story. In other words, there is a hint in the person's appearance, gesture, expression, etc. that makes you question or imagine what is going on beyond their presence on the street. Hard to explain, and even harder to capture My general approach is to take pictures of people who I think look interesting (which to me is most people). Sometimes I catch them exactly when they do something interesting, and other times I don't (i.e., most of the time). Even so, they still look interesting to me, but not necessarily to others. I'll post some examples when I get home tonight.George, as I explained in my response to Charles I'm driven more by form in the graphic sense than by reactions to people. I'll be interested in seeing the pictures you post. —Mitch/Paris http://www.flickr.com/photos/10268776@N00/ Link to post Share on other sites More sharing options...
whoopicat Posted October 22, 2007 Share #89 Posted October 22, 2007 A few year back I took a workshop from David Alan Harvey in Rome. It was basically a street photography workshop. David at the time was shooting Nikon digital (before the M8 came out) and I only saw him shoot with the 20mm (30mm eqiv) lens. I think I shot the whole two weeks there with the 35lux on my MP. Now that I have the M8 the 28 Ultron is my lens cap. I think I'd like the extra view of the Zeiss 25 though. I can't say enough good things about the workshop. If you don't know, David has a great blog here: David Alan Harvey, A Digital Magazine created by David Alan Harvey. David Alan Harvey is a Magnum photogrpaher as well as a National Geographic Photographer. Jim Rome @ flikr Rome - a photoset on Flickr Link to post Share on other sites More sharing options...
robertwright Posted October 22, 2007 Share #90 Posted October 22, 2007 A few year back I took a workshop from David Alan Harvey in Rome. It was basically a street photography workshop. David at the time was shooting Nikon digital (before the M8 came out) and I only saw him shoot with the 20mm (30mm eqiv) lens. I think I shot the whole two weeks there with the 35lux on my MP. Now that I have the M8 the 28 Ultron is my lens cap. I think I'd like the extra view of the Zeiss 25 though. I can't say enough good things about the workshop. If you don't know, David has a great blog here: David Alan Harvey, A Digital Magazine created by David Alan Harvey. David Alan Harvey is a Magnum photogrpaher as well as a National Geographic Photographer. Jim Rome @ flikr Rome - a photoset on Flickr and coincidentally the current post "eye contact" is about exactly what we are talking about, and as a 100+ comments that are actually worth reading! Some great ideas. His blog is great, and the group he has surrounding him following the blog are all very talented and committed. Re the 25mm vs the 28--the 25 has been my body cap, but I am realizing I have a hard time seeing the entire frame quickly while working. The 28 would be a little more manageable. But the 25 is a little more chaotic which helps too. From this weekend: Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/36051-street-shooting-with-peter-turnley/?do=findComment&comment=382975'>More sharing options...
mat_mcdermott Posted October 22, 2007 Share #91 Posted October 22, 2007 A few year back I took a workshop from David Alan Harvey in Rome. It was basically a street photography workshop. David at the time was shooting Nikon digital (before the M8 came out) and I only saw him shoot with the 20mm (30mm eqiv) lens. I think I shot the whole two weeks there with the 35lux on my MP. Now that I have the M8 the 28 Ultron is my lens cap. I think I'd like the extra view of the Zeiss 25 though. I can't say enough good things about the workshop. If you don't know, David has a great blog here: David Alan Harvey, A Digital Magazine created by David Alan Harvey. David Alan Harvey is a Magnum photogrpaher as well as a National Geographic Photographer.] I can completely second any workshop that David gives. I took one with him in Santa Fe a number of years ago and recently did a portfolio review with him. He's very approachable, keeps in touch with his students, and offers great criticism. Probably the best thing about him, from my perspective, is that he's far less concerned about technique and the mechanics of photography (though he did show me a beer bottle as table tripod technique and beer bottle as flash filter trick...) as he is about helping you develop your story telling ability and your personal vision. Incidentally, now that the M8 is around, he's come back into the Leica fold. Link to post Share on other sites More sharing options...
johnbuckley Posted October 22, 2007 Share #92 Posted October 22, 2007 To Charles Peterson -- the portrait is glorious. High hopes for the book. And as for the repair shop, should we assume all the rangefinders are left over from the war? Or of more recent vintage? Link to post Share on other sites More sharing options...
Guest Bernd Banken Posted October 22, 2007 Share #93 Posted October 22, 2007 Probably a better way to put it is that there be a potential for a story rather than an actual apparent story. In other words, there is a hint in the person's appearance, gesture, expression, etc. that makes you question or imagine what is going on beyond their presence on the street. Hard to explain, and even harder to capture My general approach is to take pictures of people who I think look interesting (which to me is most people). Sometimes I catch them exactly when they do something interesting, and other times I don't (i.e., most of the time). Even so, they still look interesting to me, but not necessarily to others. I'll post some examples when I get home tonight. George, this is the secret of photographs which get more than 5 sec. attention because a small story will be told: Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/36051-street-shooting-with-peter-turnley/?do=findComment&comment=382982'>More sharing options...
charlesphoto99 Posted October 22, 2007 Share #94 Posted October 22, 2007 To Charles Peterson -- the portrait is glorious. High hopes for the book. And as for the repair shop, should we assume all the rangefinders are left over from the war? Or of more recent vintage? Thanks. I would assume some are of VN war vintage, but possibly many are from Russians who lived and touristed in Vietnam during the post war years. Lots of Canonet type cameras. This has been a great thread. I don't think that street photography has to be about wide lenses and up in people's faces either. Here's one from London taken with a 300mm (Canon 1V). I was on a commercial gig and needed to produce some "b-roll" of London, images that are iconic but usable with no releases. Silhouettes work great for that. So behind Victoria station I found a stop light that cabbies stopped at and shot a whole roll of these. This is one of the better ones. It can also be a detail. Here is one (M6 with a 50mm) of a taxi drivers car in Danang. Mitch, your approach reminds me of Daido Moriyama. Are you familiar with his work? Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/36051-street-shooting-with-peter-turnley/?do=findComment&comment=383027'>More sharing options...
gesper Posted October 22, 2007 Share #95 Posted October 22, 2007 George, this is the secret of photographs which get more than 5 sec. attention because a small story will be told: Exactly, and it will be hundreds of small stories because every viewer will compose his/her own. Link to post Share on other sites More sharing options...
glenerrolrd Posted October 22, 2007 Author Share #96 Posted October 22, 2007 Hi Roger, was this the 35lux asph or pre-asph?... i'm getting mad with these pictures... look so like what I like... cheers Maurizio 35 1.4 ASPH Link to post Share on other sites More sharing options...
earleygallery Posted October 22, 2007 Share #97 Posted October 22, 2007 I think its very hard to define 'street' photography, it really covers a multitude of subject matter. For me the image should provoke some sort of reaction be it amusement, affection, pity, disgust, whatever. A random shot of a random person going about their daily business probably won't evoke any initial emotion. That said, however, the image may take on historical/social documentary interest for the fashion or enviroment. I've been to a few really great exhibitions at pymca.com this year. Photographs that at their time were little more than snapshots. I also particularly like the work of John Deakin - many of his images were probably considered 'ordinary' at the time but are now fascinating to look at. Also the work of the group of photographers at iN-PUBLiC | The home of street photography show some excellent examples of narrative and humour. Link to post Share on other sites More sharing options...
glenerrolrd Posted October 22, 2007 Author Share #98 Posted October 22, 2007 Thought you might want to see the definition of getting low! No wonder I hurt all over after a day of "getting low". Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/36051-street-shooting-with-peter-turnley/?do=findComment&comment=383085'>More sharing options...
charlesphoto99 Posted October 23, 2007 Share #99 Posted October 23, 2007 Always fascinating to see the legends at work! Have any more? Link to post Share on other sites More sharing options...
gesper Posted October 23, 2007 Share #100 Posted October 23, 2007 OK, here are few shots. The first one is of a person whom I thought was interesting, but he is just walking and not doing anything in particular. Is there a "story" here? For the second one I spotted a bride and groom walking through Central Park. Just as I took their picture she stopped to adjust her dress just when she was next to the two men having an animated discussion and just as the other woman and her children came into the frame. Plenty going on in that one. Finally, one with blur since we were discussing that earlier. All shot with 35 cron while walking through downtown Chicago in the first one and New York in the other two. All were ISO 160, last one was 1/4 second wide open. Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/36051-street-shooting-with-peter-turnley/?do=findComment&comment=383157'>More sharing options...
Recommended Posts
Archived
This topic is now archived and is closed to further replies.