I Reversed My Street Tactics And A Good Start.

R

ruben

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Since I don't own the copyrights I will tell the full story, somewhat personal.

My attraction to street photography started with Beniliam. His pictures were of the highest inspiration to me and for many here.
Studying and enjoying Beniliam's photos, I noticed there a very special element, not seen by me before.

In many of his images Beniliam seems to wait until his subject notice him and react in some direction. That's his moment to click. His decisive moment. Fine. Then some day Beniliam dissapeared for a while from RFF, and I was already engaged in the streets.

But then came Formal's masterpiece, "more beef" and he shaked me. First I posted a "hurra" comment, but some time afterwards I found it appropriate to write a second commentary, more near a critique than a comment. There, looking and analysing his image, I came to the conclusion that the central element of power and tension of the image was the girl look into Formal's camera with a very special facial expression.

This, if you like, was the final strike to prompt me in that direction. Instead of catching people unaware, raise the camera, point it to your subject and wait untill he/she notices you. Then two possibilities: Either he/she signals you not to photograph, or any other reaction. In the first case, I will not shoot, in the second yes.

So yesterday night upon ending my job day, I mounted a flash on my Kiev color 100 and started going to the bus stop. Near a street crossing I noticed three female teenagers from some exhotic Asian ascendance, laughing to death. I started to waver, to be or not to be, and finally stood straight in front of them and started focusing. Immediately they reacted for good, with one of them standing specially for me, while the other two I don't know their expression since it was very very dark.

This morning, when waiting for the bus, I noticed an old man with a dog comming towards me from afar. Again, I raised my camera for long seconds while he looked at me all the time. His look was rather harsh, but he didn't signaled don't shoot, so at the right moment I shot.

This night, again back from work, I entered the bus with the color Kiev and flash, instead of my Kiev Neopan, which remained at my belly pouch. I sat diagonally to a teenager talking with her cell phone. She noticed me twice pointing my camera towards her but continued talking. She was shy and didn't give me anything to photograph but her profile. I didn't shoot.

Yet when descending from the bus I noticed a woman seated near the bus stop, within a somewhat interesting background and foreground. I stood in front of her by some 4 or 5 meters, she looked at me and I shot, with flash, as stated. Immediately after shooting her, I continued walking slowly as usual and when I was very close to her she asked smiling: "Did you shoot me ?"

"Yes!", I answered. Then she asked: "Why me ?", "Because you agreed" was my answer, upon which she laughed.

Cheers,
Ruben

ps
Of course, I don't mean to say all pictures must be done with the subject looking into the camera.
 
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I don't want to hurt you but I think that you think to much while shooting. I my opinion you just have to feel the best place and moment to shoot, don't think about composition, just shoot when you feel the time has come. In street photo you cannot think, focus and shoot so don't think, just shoot ;)
 
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Good story Ruben and a very good and fresh approach for me.
As I either ask specifically before or I try to be invisible but to make the shooting itself the communication is somewhat new to me...except on parades or other events where people come to be seen and um..pictured (it's somehow absurd to imply that they are there to be shot)
 
Interesting Ruben. You can sometimes get some very unique results when the subject 'breaks the fourth wall'.

It is occasionally done in cinema or the theater. It doesn't always work, but when it does it can be very powerful.

HL



HL
 
le vrai rdu said:
I don't want to hurt you but I think that you think to much while shooting. I my opinion you just have to feel the best place and moment to shoot, don't think about composition, just shoot when you feel the time has come. In street photo you cannot think, focus and shoot so don't think, just shoot ;)
Click to expand...


There is a big difference between mechanically thinking through every step of the procedure while you are taking photographs and reflecting upon technique afterward or planning it in advance. Obviously, much street shooting involves quick action. But that does not mean that there is no technique to it. I think that Ruben is right that much great street photography falls outside the category of "stolen moments." I agree with him that this fact is well illustrated in the work of Beniliam. And I also agree that there is a technique to making photographs like this that show an interaction between photographer and subject. It is likely that most great street photographers give no thought to technique while taking photographs. But this is only because they have arrived at a point where technique is second nature to them. I think that you are right, they just shoot when they feel that the image has come together. But it does not follow that one becomes a great street photographer by giving no thought to technique.
 
I agree with you, that the reason why before shooting you must have your apperture and speed ready. While walking in the street I always change speed and aperture as the ligth changes. That is why when I shoot I just have to focus.
 
Everybody shoots differently. Ruben, I appreciate your detailed explanation of your ideas and how you put them to work. It's an interesting read as well as helpful to my own photography.
 
Hi folks,

I cannot but recommend you to give a deep deep look to Formal's materpiece. Study this picture in depht by long observation.


http://www.rangefinderforum.com/photopost/showphoto.php?photo=74639&cpage=2

Each of us, from his own approcha to photography, can lear a lot from this image. You can get different conclusions than mine, and it is ok. But I find hard to believe that through long observation you will not learn anything new.

Kindly avoid doing two things:
a) don't ask Formal how he has done it, since it is not appropriate.

b) don't read my commentaries there, to allow yourself more grounds of thinking and feeling.

We have a masterpiece of street photography. Don't let it pass by unattended.

Cheers
Ruben
 
J J Kapsberger said:
I admire your courage, Ruben. I've got to get over my fear of pointing a camera at a stranger. Carry on.
Click to expand...

Believe me that I am not more bold than you. Seriously. The only difference is my greedyness for gold, after discovering its location.

Cheers,
Ruben
 
I admire Ruben for doing what he's doing.

My style is to find the location, and then wait for the people to arrive.

Focus and exposure are already set, and I wait, hours maybe, until the right person walks in front of me. Maybe the guy in a suit, maybe the the mother and child, maybe the young woman in a mini skirt. Whoever.

It helps if the chosen location is outside a bar and you have a beer while you wait.
 
Ruben,

it is very interesting what you propose. You are affecting what you are
observing. It is a sort of 'quantic' photography, in the sense that you,
as the observer, affect the observation, whatever you are photographying.

Could you show the results? I am curious, because my first interpretation
after reading your post is that you were looking for eye contact (something
that can give life to many photographies), but I am not really sure that you
meant it.

Best regards,
Pau
 
Excellent observation and analysis, Ruben! I think this is a path to a new level of photography. It is, in fact, what I try to do, though perhaps not with Benilliam's talent. :)

It does take some courage, polite assertiveness, to approach strangers with the camera, but the subject agreement and the interaction between shooter and subject I think makes for a more powerful photo. The viewer then may share in that interaction.

I am by training and inclination an engineer, so tend to be more methodical and practical in my approach to photography, maybe a gearhead. :D But those who say go with instinct have a good point too. C'est Vrai! :) I am on occasion pleased and surprised to see elements in my photos that I must have seen and subconsciously processed at the time of exposure. These things can make the photo better, but sometimes my subconscious is out to lunch.

Best wishes for further success with subject-aware street photos, Ruben!
 
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Some very interesting and different approaches to street photography. If there is interaction with the subject it can result in an very interesting photo. On the other hand, being "invisible" and avoiding any interaction with the subject / surrounding is also one approach to street photography. Anyhow, any approach in photographing strangers needs some skills and courage.
 
Just an aside and not totally relevant to what is being discussed here ... but sometimes when we take a photograph of someone we don't know, there are cultural issues to be taken into consideration ... not to mention personal beliefs.

The 'true' Australians, the Aboriginals of this country ... have a belief (more the older generation) that a photograph taken of them ... is actually taking something from them and they are not comfortable with it at all.

I supect that it relates to the same situation that arises when TV stations show documentaries etc about Aboriginal or Torres Strait Islander cuture, there is alway a warning at the beginning of the programme informing viewers who may be from either group that the programme contains images of people who may be deceased.
 
Keith said:
... but sometimes when we take a photograph of someone we don't know, there are cultural issues to be taken into consideration ... not to mention personal beliefs.

The 'true' Australians, the Aboriginals of this country ... have a belief (more the older generation) that a photograph taken of them ... is actually taking something from them and they are not comfortable with it at all.
Click to expand...
I encountered similar sentiment years ago, Keith, when I lived near Izmir Turkey; some among the older generations objected to being photographed in the belief it captured some part of the soul.

And in a sense there may be a grain of truth to it, as the photo does freeze a likeness of them at that instant, and carries power derived from both subject and artist. It can be a positive power, or it's possible the photo could be used to ridicule the subject, who would be hurt if they learned of it. Getting subject approval, even if only tacit approval, would avoid the offense of the moment...
 
Here in Israel, we also encounter subjects whose spiritual beliefs clash with photography done with the best of intentions.

I want to appreciate Ruben's detailed post and the replies herein. I work in the same Jerusalem street environment that Ruben does. Formal's photo of the young woman in Dublin is indeed a masterpiece. Note that he used a 24mm lens and was in close. Further, Ruben has clearly identified the element of contact between Beniliam and his subjects. For sure, this is different than surreptitiously "taking" something.

Beniliam's wonderful photos have disappeared from both RFF and flickr. There have been changes in Spanish legislation, making it more difficult for street work and publication.

Who we are, influences what we bring to our work. Doug is an engineer, and I can see that in his carefully crafted photos in DSLRx. Another factor is our gear and our comfort with it. I doubt that the photo in the Thumbnail below, could have been achieved with a Kiev raised to eye level.

Keep shooting & cheers, Mike
 

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mackigator said:
Bruce Gilden. First name that comes to my mind when you say street + flash + eye contact.
http://www.magnumphotos.com/Archive...Detail_VPage&pid=2K7O3R1482X4&nm=Bruce Gilden
Click to expand...

Bruce Gliden's narrated essay of his early career work at Coney Island is excellent. He shares much insight about his interaction with the subjects, how he worked, and what he thinks makes each of the photos work.

See: http://inmotion.magnumphotos.com/essays/coney.aspx

Anyone who has not explored the "Magnum in Motion" series, all photo essays narrated by the photographer, should do so in my opinion.
 
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