Guest malland Posted October 23, 2007 Share #101 Posted October 23, 2007 Advertisement (gone after registration) ...Mitch, your approach reminds me of Daido Moriyama. Are you familiar with his work?Bingo, Charles! He's my favourite photographer. Some people have accused me of imitating him but I think he's an influences: in the afterword to my book project I wrote the following: First. Don McCullin's book, Open Skies, with its dark vision inspired me tolearn darkroom printing and begin serious black and white photography. From Ralph Gibson I saw how a part can give a more powerful impression than the whole, especially if the underlying graphic forms are strong, as when shadows are pushed to black. And from Moriyama Daido — who felt that photography which is too exquisite becomes too self-confident to challenge its own meaning and loses reality — I learned to love the 35mm aesthetic, particularly the effect of large grain, deep, black shadows and heightened contrast. When I was in Tokyo at the end of August I picked up his two newest boks, one of which is his 400-odd page book on Hawaii — books like this are just not pucnlished in the West: more and a wider range photo books are published in Japan than anywhere else. —Mitch/Paris http://www.flickr.com/photos/10268776@N00/ Link to post Share on other sites More sharing options...
Advertisement Posted October 23, 2007 Posted October 23, 2007 Hi Guest malland, Take a look here Street Shooting with Peter Turnley . I'm sure you'll find what you were looking for!
Guest malland Posted October 23, 2007 Share #102 Posted October 23, 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... James, my own ideas of street photography have been clarified to a large degree by the two excellent articles that Sean Reid has on his (pay) site, "Street Photography and "Photographing Strangers". They're worth reading. On your second stamement, emotions, like amusement, affection, etc., that a pciture elicits, in my view are an affect, from the totality of the picture; but the effect can also be a different one, induced by the graphic form rather than the anecdotic content. —Mitch/Paris http://www.flickr.com/photos/10268776@N00/ Link to post Share on other sites More sharing options...
Guest malland Posted October 23, 2007 Share #103 Posted October 23, 2007 this is the secret of photographs which get more than 5 sec. attention because a small story will be told:Bernd, in my view what you are referring to in one type of photograph, such as the excellent ones that you have posted that are in essence anectodes. Yes, an anecdotic picture must tell a story. But there is another type of street photography, such as that of Moriyama Daido, and some of the pcictures of Ralph Gibson, for example, where there is no story at all, and where the effect and meaning is mainly carried out by the form, in the same sense that the meaning of a poem comes from the form as much as from the content. And as Charles wrote above, all this has nothing to do with whether you shoot with wide-angle lenses of stick cameras in peoples face. Turnely's teaching sounds very effective but, again, that is only one type of street photography. —Mitch/Paris http://www.flickr.com/photos/10268776@N00/ Link to post Share on other sites More sharing options...
gesper Posted October 23, 2007 Share #104 Posted October 23, 2007 Thought you might want to see the definition of getting low! No wonder I hurt all over after a day of "getting low". Wow, it looks like getting close means papparazi close. I would be concerned that your subjects would be self conscious and you would lose whatever was happening naturally that attracted you to the shot in the first place. Peter has been hugely succesful, so I can't fault his technique, but I'm not sure it is for me. Link to post Share on other sites More sharing options...
glenerrolrd Posted October 23, 2007 Author Share #105 Posted October 23, 2007 Wow, it looks like getting close means papparazi close. I would be concerned that your subjects would be self conscious and you would lose whatever was happening naturally that attracted you to the shot in the first place. Peter has been hugely succesful, so I can't fault his technique, but I'm not sure it is for me.He was exaggerating to show that ..if approached with a friendly positive attitude..you can get much closer than you imagined. I was trying to illustrate the athletic nature of his style. Link to post Share on other sites More sharing options...
Nick_Yoon Posted October 23, 2007 Share #106 Posted October 23, 2007 Hope it's not taking the discussion OT, but since David Alan Harvey was mentioned, here are a couple of photos of him at work, and getting low. These were taken during a workshop in Sicily covering the Easter processions. (Sorry, these aren't M8 shots) More photos of the class here: Easter Processions Workshop - The Class - a photoset on Flickr Link to post Share on other sites More sharing options...
Guest maddoc2003jp Posted October 23, 2007 Share #107 Posted October 23, 2007 Advertisement (gone after registration) Go Wide...Get Low ...Get Close and watch your edges . I haven't read such a fascinating thread for a long time, thanks a lot for sharing ! The one lens (WA up to 50mm) / one body approach seems to work out very well. As I remember 28mm was Winogrand's favorite FL. One thing form my experience, in Europe it is maybe easier to go into the streets and take photos of strangers from a quite close distance compared with Japan where I live. Being a quite tall foreigner makes it difficult to "disappear" within the crowd and raising the camera to the eye-level immediately raises attention of everybody around. Link to post Share on other sites More sharing options...
Kent10D Posted October 23, 2007 Share #108 Posted October 23, 2007 One thing form my experience, in Europe it is maybe easier to go into the streets and take photos of strangers from a quite close distance compared with Japan where I live. Being a quite tall foreigner makes it difficult to "disappear" within the crowd and raising the camera to the eye-level immediately raises attention of everybody around. Hey! Another easy-to-spot-from-a-mile-away foreigner in Japan! Hi Gabor. I'm in Yokohama, and yes, stealth shooting is pretty much out of the question for us here. I guess we'll just have to depend on our charm! Link to post Share on other sites More sharing options...
Guest maddoc2003jp Posted October 23, 2007 Share #109 Posted October 23, 2007 Hey! Another easy-to-spot-from-a-mile-away foreigner in Japan! Hi Gabor. I'm in Yokohama, and yes, stealth shooting is pretty much out of the question for us here. I guess we'll just have to depend on our charm! ... charm or speed ! Hi Kent. I am in Sapporo and here the amount of foreigners is really low, doesn't make things easier... What somebody already mentioned, using a TLR or even Hasselblad sometimes work out in the street. No need to raise the camera (and many even don't recognize it being a camera ) Link to post Share on other sites More sharing options...
marcia Posted October 23, 2007 Share #110 Posted October 23, 2007 This was the best workshop I ever attended. It is possible to use a 28mm lens, get close to your subjects, and not disrupt their interaction. See attached photos from Prague & Budapest. 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=383374'>More sharing options...
Guest stnami Posted October 23, 2007 Share #111 Posted October 23, 2007 But these are not examples of 28mm that you are referring to,are they?....................... according to the camera EXIF data they are taken with a canon at about 35mm plus + etc eg EXIF Summary: 1/250s f/14.0 ISO800 36mm (35mm eq:57.6mm) Link to post Share on other sites More sharing options...
Guest malland Posted October 23, 2007 Share #112 Posted October 23, 2007 Hey! Another easy-to-spot-from-a-mile-away foreigner in Japan! Hi Gabor. I'm in Yokohama, and yes, stealth shooting is pretty much out of the question for us here. I guess we'll just have to depend on our charm! I've lived in Tokyo and now live in Bangkok and don't think what you're saying is true in either city. Sure, if you're photogarphing in Shibuya everyone sees that you're a gaijin and if you're shooting in Siam Square everyone sees that you're a farang, and in both places, teenage hangouts, they see you're several times their age; but if you act as if you belong they don't pay any attention to you. It's not a matter stealth — if you act sneaky you look sneaky — it's a matter of body language and how you act. Here is a Tokyo picture taken without stealth at 35mm EFOV: ...and here is a Bangkok picture at 21mm EFOV in which the university students are laughing not in reaction to me but because one of them was saying something funny, although they are looking at me, having noticed that I was taking a picture: —Mitch/Paris Flickr: Photos from Mitch Alland Link to post Share on other sites More sharing options...
Guest malland Posted October 23, 2007 Share #113 Posted October 23, 2007 Wow, it looks like getting close means papparazi close. I would be concerned that your subjects would be self conscious and you would lose whatever was happening naturally that attracted you to the shot in the first place. Peter has been hugely succesful, so I can't fault his technique, but I'm not sure it is for me.Ugh, why would you want to go right up to people and stick a camera in their face as, obviously, they will react and this stimulates the Heisenberg principle. Frankly, I thought that the example of sticking the camera in the car window of the wedding party was offensive. Maybe Turnley does really shoot this way, or maybe it's just a teaching tool; but in either case this is not what I would want to do: I don't want to be either stealthy or offensive. Here is an M6 picture for a change (DR Summicron at f/2.0 on Tri-X rated at ISO 200 and developed in Rodinal: —Mitch/Paris Flickr: Photos from Mitch Alland Link to post Share on other sites More sharing options...
Kent10D Posted October 23, 2007 Share #114 Posted October 23, 2007 Hi Mitch. I've lived in Tokyo and now live in Bangkok and don't think what you're saying is true in either city. Sure, if you're photogarphing in Shibuya everyone sees that you're a gaijin and if you're shooting in Siam Square everyone sees that you're a farang, and in both places, teenage hangouts, they see you're several times their age; but if you act as if you belong they don't pay any attention to you. It's not a matter stealth — if you act sneaky you look sneaky — it's a matter of body language and how you act. Yup ... body language and how you act. I call that "charm." Anyway, it was supposed to be a funny-ha-ha type comment intended to spark some repartee with another gaijin. Not really meant for serious rebuttal. But while we're posting, and apropos to the subject of "body language," here's one I wouldn't have dared shooting with "charm". Zone focus, moving quickly, shooting from the hip. (Not M8. This was M6 with Tri-X). I figured one of those two was going to be needing that ambulance at some point, and I wasn't about to stick around to find out. Sometimes charm just doesn't cut it, even in Japan. 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=383443'>More sharing options...
Guest malland Posted October 23, 2007 Share #115 Posted October 23, 2007 Kent, here's someone who would have wanted to take a swing at me or at least to curse me, but assumed, incorrectly, that I dindn't speak Thai. I was going to say something to her to apologize but then my eye caught the giggling girls in my earlier posting and it was too late to say anything. —Mitch/Paris http://www.flickr.com/photos/10268776@N00/ Link to post Share on other sites More sharing options...
Jager Posted October 25, 2007 Share #116 Posted October 25, 2007 I'm not familiar with the work of Moriyama Daido. Any particular favorites among his books that are available? Mitch, I really like the next-to-the-last pic you posted, the one of the two young ladies sitting at the table, one in shadow, one in light. Jeff Link to post Share on other sites More sharing options...
gesper Posted October 25, 2007 Share #117 Posted October 25, 2007 In looking at the pictures in this thread, I definitely prefer the ones that are not obvious pictures of people who are clearly aware that they are having their picture taken. In other words, it seems more genuine when they are not reacting to someone pointing a camera at them and disturbing the flow of whatever they were doing. There are exceptions such as Mitch's last one where she is clearly not happy that he is there, where there is a clear sense of emotion or mood. But that is just my preference and I am sure others feel differently. Link to post Share on other sites More sharing options...
Guest malland Posted October 25, 2007 Share #118 Posted October 25, 2007 I'm not familiar with the work of Moriyama Daido. Any particular favorites among his books that are available? Mitch, I really like the next-to-the-last pic you posted, the one of the two young ladies sitting at the table, one in shadow, one in light. Jeff Thanks, Jeff. Together with the third woman in the back, who looks almost like a reflection of the one on the left in the front, this picture reminds me of the concept of a "double", as in some of the novels of Conrad or Dostoyesvsky. There are two beautifully printed books by Moriyama Daido available from amazon.con that are worth looking at: Amazon.com: Daido Moriyama: Shinjuku 19XX-20XX: Books: Zdenek Felix,Daido Moriyama Amazon.com: Memories of a Dog: Books: Daido Moriyama —Mitch/Paris Flickr: Photos from Mitch Alland Link to post Share on other sites More sharing options...
William Noel Posted October 25, 2007 Share #119 Posted October 25, 2007 Hi, sorry I don't have an M8(only digilux3) but I really find this thread so interesting since I love street photography. Hope you won't mind. The more I read the more I learn from this thread. Its like having a workshop for free Like George, I too prefer photos whose people in it are unaware of being photographed since this will show the real candid moment you intend to capture. 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=385380'>More sharing options...
sean_reid Posted October 25, 2007 Share #120 Posted October 25, 2007 Hi, sorry I don't have an M8(only digilux3) but I really find this thread so interesting since I love street photography. Hope you won't mind. The kind of work that is often called "Street Photography" can be done with almost any camera. I made pictures of people in public places with a 4 x 5 Graphlex for a period of time. I've also done so with a Digilux 3 so you've got company. Sure, its the M8 forum but the topic is more interesting than any attachment to a given camera, per se. Cheers, Sean Link to post Share on other sites More sharing options...
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