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. E-mail me. I am in the Los Angeles area and have done a lot of shooting in downtown Los Angeles and starting to do some in Pasadena.

-- Anonymous, April 07, 1997

Answers

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

-- Anonymous, April 08, 1997

the street

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.

-- Anonymous, April 10, 1997

Street photography

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.

-- Anonymous, April 11, 1997

Street photography

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

-- Anonymous, April 11, 1997

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 i s 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.

If anyone know of good sights with street photograph please let me know about them.

Ibarionex

-- Anonymous, April 12, 1997

Ibarionex wrote: "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 standing. 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."

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.

-- Anonymous, April 12, 1997

Street photography discomfort

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.

-- Anonymous, April 10, 1997

Street Photography

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

-- Anonymous, April 10, 1997

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 chhose them

Just some thoughts,

Mike

-- Anonymous, April 11, 1997

Street Photography

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

-- Anonymous, April 11, 1997

street

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.

-- Anonymous, April 11, 1997

Street Photography

You asked a lot of questions so I'll take them in random order.

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

-- Anonymous, April 11, 1997

Street Photography

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 very contrasting approaches. Judging by the end results, both seem valid.

~mason

-- Anonymous, April 16, 1997

Street Photography

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

-- Anonymous, April 16, 1997

Street photography

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!!!!

-- Anonymous, April 17, 1997

RC Paper

Speeking of RC paper I have to admit I'm a closet RC paper user. I actually like the stuff and am currently using Kodak Polycontrast III RC (E). Of course I also use FB paper, currently Kodak Polymax Fine-Art (G) which I understand they are discontinuing. Every time I like something it gets discontinued.

I am trying to use Ilford's Multigrade IV FB Matte and it is the worst paper I have ever used. I called them to see if it was in the recall and it is not.

Ted

-- Anonymous, April 19, 1997

RC Paper response

I haven't tried any of Ilford's multigrade FB paper but I do have a preference for a matte finish. Currently I am using Ilford MG IV RC Satin which has a nice flat finish without the 'milky' blacks that you would get in the MG III Matte, but I have noticed some inconsitencies between batches. I also like(d) Oriental Seagull VC RC but it was discontinued (of course). I don't have very much experience with FB. I have used the Kodak Polycontrast and Agfa but not enough to get the best results.

-- Anonymous, April 19, 1997

Demise of polymax fine art

What's this about Kodak polymax fine art FB paper being discontinued? When and why?

-- anonymously answered, April 24, 1997

Street Photography

Didnt 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

-- Anonymous, April 21, 1997

Street Photography

How lucky you were to shoot w/ GF. 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.

-- Anonymous, November 18, 1997

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.

-- Anonymous, June 05, 1997