So how do you do it, photographing people in public?

[thrid]

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Just about all you need to know.

;-)

[bill]

...try that in Surrey...

 

Regards,

 

Bill

[Guest malland]

Here's an article on street photography that I wrote for The Online Photographer, which is followed by some discussion:

 

The Online Photographer: An Approach to Street Photography

 

Here's a picture of a young woman in Bangkok wearing a university student uniform who was not happy about being photographed,

 

 

 

 

 

 

...but as I was about to speak to her I saw the students in the following picture who, incidentally, were not reacting to me but, while laughing among themselves, noticed me:

 

 

 

 

Here is a picture with the type of "loose" style that I tend to like:

 

 

 

 

BTW, it seems to me that this thread should be in another section as it has nothing to do with the M8.

 

—Mitch/Potomac,MD

Flickr: Mitch Alland's Photostream

[Shootist]

But you know, I've been tempted on occasion to take a snap of two obviously-in-love people staring dreamily into each other's eyes over a glass of Merlot, until I stopped to ponder my bad luck if the guy happened to be some mobster in witness protection, out with somebody else's wife So, my hat's off to the street photographers. I lack the intestinal fortitude.

 

I also have those thoughts sometimes, it would be just my luck.

My theme song is "Born Under a Bad Sign".

[Guest DuquesneG]

But once in a while you run into a problem. I shot this picture this morning as I walked through the local bus station. The guy in the middle started yelling when he saw me shoot the picture. .... I told him I don't care what he likes or doesn't like -- that if he doesn't want his picture taken he should stay home.

 

That fairly well confirms what I said. It's no different than any other "confrontation", be it shoving your way into line ahead of someone else, blasting into a parking space when someone else was there first standing with their blinker on, or taking someone's picture who doesn't want it taken. Boils down to assessing the risk and deciding if you can get away with it. For me, aside from just having been brought up to be considerate to the wishes of others, getting "the shot" of someone who clearly doesn't want it, isn't worth the risk. I'm not old or feeble, but I'm no Hulk Hogan. Beside which, I don't believe I can tell who is concealing some weapon (gun, knife, taser/stun-gun, mace/pepper spray), whose posse is nearby to join in the fray, or even if I were to prevail, deal with some guy who claims I injured him and hires some lawyer to sue my pants off. I know the odds are probably slim that any of that would happen...but, well, as you can see, I just don't have the guts to be a great street photographer...or the talent

[Guest stnami]

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[miami91]

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I like to get close, really close. Which means I got to be fast. I like to make most decisions (and camera settings) while still approaching the subject/scene.

My attitude is 'Shoot first, ask later'.

Single individuals or couples I approach after wards, show them the photo and ask politely for permission. (I always carry a waiver/release form with me.)

The danger is to be prepared to delete the photo - no matter how good - on the spot in front of them. It doesn't happen often, though.

 

I also like to concentrate on large groups of people. In that case I don't bother with permissions. Too much hassle.

 

Weren't you profiled in LFI a month or two ago? I like your PS techniques --- very stylish.

 

Jeff.

[sean_reid]

 

 

 

Just about all you need to know.

;-)

 

I hadn't seen those in awhile. Thanks for the links.

 

Cheers,

 

Sean

[peggers]

My advice is to dive in. That first photo of the day is the hardest. As many say a smile is a great way in. You also get a "sixth" sense of who you can and can't snap.

 

I didn't ask any of the following subjects...

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[Bigfeet]

My advice is to dive in. That first photo of the day is the hardest. As many say a smile is a great way in. You also get a "sixth" sense of who you can and can't snap.

 

I didn't ask any of the following subjects...

 

I am guessing that those pictures were taken in Bahrain. Is that correct?

 

Very nice pictures, by the way. What lens(es) were you using?

 

 

Bigfeet

[Tina Manley]

I work two ways. I either take photos without permission when people are not aware that I'm taking photographs. Or I spend enough time with them that they eventually forget that I'm there taking photographs and go on about their business. The whole point, to me, is to be invisible. I wish I could be a fly on the wall, but the next best thing is to use a Leica rangefinder and blend in with the background. No sudden moves. Sit quietly in a corner. Either take the photos quietly and leave or stay for several days or a week and become a part of the background. Asking permission and then taking photos guarantees that you'll get posed photos. Not what I want.

 

Tina

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[haribo]

Weren't you profiled in LFI a month or two ago? I like your PS techniques --- very stylish.

 

Jeff.

 

Yes, that's me. Thanks.

The article is in the current issue of LFI, 6/2008.

[johnastovall]

Bruce Gilden working in the New York street.

 

[Tina Manley]

To me, the Bruce Gilden video is an great example of how NOT to take street photographs. All of the people look shocked, violated - not at all natural. This is photography of how people look when they are assaulted by an intrusive photographer taking flash photographs. Paparazzi training maybe? Flash draws attention to the photographer. Sorry but I do not like these photos at all! Maybe they qualify as street photography because they are made in the street. I hope not.

 

Tina

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[johnastovall]

Well Magnum seems to have liked Gillden's work. There are many ways to do Street Photography.

 

He was getting the look in his images he wanted.

[Tina Manley]

He joined Magnum before this series; however, I agree with you. There are all kinds of street photographs and if you want to show how people look when they are assaulted by an gonzo photographer with a flash in their face, these are wonderful examples.

 

Tina

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[Kent10D]

I have to agree with Tina on this one.

 

I think if you actually stop and think how you, yourself (not directed at anyone in particular) would feel if, while walking down the street, some bloke jumped out in front of you and stuck a camera right in your face and fired a temporarily-blinding flash. I sincerely doubt that anyone subjected to that sort of surprise would be thinking "gee, that was fun!"

 

I know I wouldn't appreciate it, so I certainly wouldn't do it to someone else.

[JE]

Bring the camera to eye level, frame, turn and twist, shoot. Walk on. I admit I don't always have the cajones to do this, but this is my general approach. I don't really like asking people as it tends to change their posture, pose, expression, slouch, etc...which is what attracted me to them in the first place.

J

[thompsonkirk]

Some 'rules' of my particular game:

 

0. If you're an Arbus-type person: Hang out, & go right ahead & make people's acquaintance. But that's not the style being discussed here.

 

1. It's natural to be a little wary. We can't expect strangers to love us as if it were the 60s. Street photography is a lot more difficult than it used to be. This is a litigious society where people don't even want their possessions photographed, let alone their person. Across real or imagined social barriers, people are more touchy about being 'dissed.' If you aren't Bruce Gilden, treat people with respect.

 

2. When you get older & can't run fast, resort to polite treachery: Dress like a tourist & act as if you're shooting like one. Wear a funny hat, not a conspicuous hat but one that says you're not a person to be taken very seriously. Shorts work better than pants. Use a chrome, not a black, camera, & act as if it were just a point-&-shoot. Don't carry any photo gear besides the one camera. Hope the subject doesn't hear your noisy new shutter.

 

3. Carry the camera on a little wrist strap, couched & somewhat concealed in your right hand (if you're right-handed), but always pre-focused (with 28=35) between 2-3m. Keep pre-setting the aperture, anticipating changes in light & shadow. Raise the camera like you're sort of fooling around, frowning & biting your lip as if you don't quite know what you're doing.

 

4. You needn't look like you're photographing your subject: Focus on an object at the same distance, act as if you took your shot, & then pan toward the real subject. Or take the picture you want, make a face like it was a mistake because an interloper walked into the picture, & wait as if you're going to shoot again.

 

5. If confronted: Act bumbly-amateurish & say you're just trying out this camera to see if it'll work for you. If you're young, say you're a student & have to take a whole roll of pictures today for your class.

 

6. If it's the person's face that matters, use the smile-technique mentioned above: Don't say anything, just point with a goofy smile at the camera & then at the person, & start shooting as if you'd just won their approval. If they don't like it, say I'm sorry, I'll erase it. Push a button on your camera.

 

7. Enjoy places that attract tourists, or the somewhat eccentric people who might expect to be photographed anyway. Any sort of festival, no matter how corny, is a promising venue because cameras are welcome. Or visit public scenes that really do matter - for example, matters of war & peace:

 

Berkeley vs. the Marines, 2/12/08 - a set on Flickr

 

(Im' referencing the flickr site rather than posting here, because I didn't shoot those with a Leica - the light required fill flash.)

 

Just my way of playing the game; everyone will find his or her own.

 

Kirk

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[erl]

Street photography has an infinite number of techniques, all valid at some time.

 

One of my favourites is to park myself somewhere and let the world pass me by, so to speak. That way I am assumed to be part of the environment as the 'traffic' passes by. My favourite combo, M8+Noctilux is set @ f1.0 and usually ISO640 or 1250 because I tend to haunt darker areas. Shutter varies between 'auto' & 'manual', depending on lighting. I always pull focus because that is what the noct demands. With practice it is reliable.

 

Below is a pair of pics illustrating the difference that is achieved by shooting candidly and unobserved (1st pic). The second is what I captured after the subject observed me and I smiled at him. The pic speaks for itself. He then stopped and chatted for several minutes.

 

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As seen in the pics, I like to separate my intended target from the environment without isolating them from it. I reckon the noct does this brilliantly.