Nameless. Faceless
His name would have been just as important as understanding his plight but from my perspective, all I could unscramble from how he laid on the floorboard was thinking how thankful he must be for having found a tranquil spot in an often bustling setting.
We both happen to be at the South Street Seaport just simply in different locations. Having walked the popular tourist attraction for 2 hours, I took a rest on the 3rd level which is where you’d get the highest quality panoramic view of the Brooklyn Bridge. Yet somehow my point of interest wasn’t so much with what I assume everyone else was looking at, it was more on what everyone was avoiding to acknowledge which was this faceless person.
One of the few subjects I’m reluctant to photograph is homeless people. I think they’re frequently misunderstood yet wonderful subjects but somehow I would feel more comfortable having the opportunity to know them first before taking away the very little they already have.
Most of the time they linger around public places so it’s technically legal to photograph them but the question of whether it’s degrading to their characters comes to play. I would like for them to feel that they as a person have been noticed and acknowledged and not just treated as another photo opportunity where you can increase it’s appeal by converting what you shot to black & white and labeling it art.
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Vintage Ford
I love a great zoom lens because of it’s versatility in that they reduce weight and expense but you’ll notice that when you don’t use one, the barrier that once prevented you from thinking photographically is suddenly gone. It’s an interesting exercise to adapt your vision to the limitations of a prime lens because you begin paying closer attention to how you compose a photograph rather than just choosing to zoom in and out.
Every photographer should own at least one prime lens. The most inexpensive one I added to my collection was the Nikon 50mm f/1.8. Recently I sold the Canon G11 and invested on the Nikon 85mm f/1.8 which I haven’t had as much time as I would like to experiment with it but suffice to say that the results from a few photographs taken with it have been phenomenal.
The most striking feature about this lens and the true selling point are it’s results. They’re flattering in that it’s wide aperture gives you that narrow depth of field which beautifully isolates the subject from the background. I didn’t do any research in deciding whether I wanted the f/1.4 version instead because I couldn’t justify dishing the extra $750 for it especially since I snagged the f/1.8 in mint condition for $300 on Craigslist.
For this photograph, I strolled to the end of my block and caught sight of this isolated and rare Ford car which are the type you would see cops use back in the 90’s in New York.
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Experimenting with Street Photography
I read somewhere that the best way to describe “street photography” is to analogize it with pornography, in that you’ll recognize it when you see it. The genre itself is not as commercial as other branches but there’s still a fascination with the visual drama of it for both the photographer and audience.
I don’t think there’s a singular way to practice this type of photography other than to not consider it to be a lesser of a category just because the perception is to just have a camera and shoot randomly. The same rules apply in that composition matters for it to be compelling and I’ve learnt a lot and gained a new found respect for it by reading Eric Kim’s blog. Lots of great articles offering tips and techniques that take away the fear I think is often given to street photography.
I’m not a self-proclaim expert in this but from my practical knowledge, I would say that the most difficult part of doing it lies more in having the confidence to photograph people, especially when they’ve noticed you’re doing it.
It’s the perfect combination of behavior and strategies that can amount to getting great shots. I was often confronted with seeing people that I felt the immediate urge to photograph but I was presented with the difficult decision whether to ask permission, to just photograph them secretly or to find some compromise between the two.
At this point, secretly has been my choice and it’s a lot easier when you have a camera that lends itself very well to it. With the Canon G11, I rarely look at the subject directly to photograph because all the framing takes place in the swivel screen without them even noticing that the camera is pointing there direction.
I generally don’t like to categorize myself as a specific type of photographer because experimenting with other genres guarantees that you’ll eventually discover which type of photography comes more natural to you. I’ve finding street photography to be very therapeutic for when I’ve gone days without shooting and just feel like going on an unknown voyage around the neighborhood to photograph and not knowing what I’m going to find or what shots I’m going to make.
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Lonely Gondola
One of my personal favorite photographs from Europe would have to be among the initial ones I took when arriving in Venice. It’s been a city I’ve yearned to visit and the time there was an occurrence that didn’t fully sink in until I began downloading the photographs on the computer and admiring them in fullscreen.
For a place like this, rather than focusing on just shooting prominent landmarks and scenes, I took more joy in walking along the streets where the locals lived and capturing standard details. I found this approach more challenging because I think it results in more personal and expressive photos. Apart from striving to capture something different, can you imagine the large crowds I avoided.
As a photographer, I was most affected by the vivid colors of the homes and the strong sense of art history that surrounded us. The cobblestone alleys we purposely lost ourselves in reminded me of the centuries of lives we must have been passing and the view of seeing a gondola parked outside homes was priceless.
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Rear Perspective
I firmly believe that an effective photograph can capture stories better than words can because not even the best writers can describe a photograph in detail like the work itself.
Photographs certainly tell stories but they also allow viewers to construct their own opinion about what’s going on in the picture but as a presenter myself, I like to automatically supply context on what’s happening which has been the driving force in creating this site. To not just share some of my favorite work but to shed light on the creative thought behind it.
I’m fascinated by this sort of information just like I am about the behind-the-scene footage you’re served with when buying your favorite movie on Blu-Ray or DVD. Case and point being the movie Inception. I loved it and the particulars that will show what went into developing it will only make me value it even more.
If you’re the type of photographer which feels there’s no need in explaining your work, let me direct you to my favorite tip from reknown photographer Aline Smithson where he ask for you to get in the habit of doing something when submitting to a photography contest -
Learn how to write about your work. As a blogger and curator, I need some insight into your work, so I can write about it. Photographers often feel that the images should speak for themselves. Honestly, some do and some don’t. Even a few sentences are a big help.
If you think about it; the captions you add to your photographs can only further enhance what you already feel proud of. As for this particular photo, it’s simply a case representing that I generally always carry a camera with me and that not being the driver gives you the likelihood to focus on what’s around you rather than just on the road.
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Polaroid for Sale
If you’re ever curious and patient enough to browse a thrift shop, I’m almost certain you’ll come across at least one version of a vintage Polaroid camera. I should know because I’ve done it and yet haven’t been lucky enough to find one in decent condition to justify the purchase.
I have a mild fascination with that creamy vintage results that you get from a Polaroid snapshot. I’m particularly fond of the Polaroid SX-70 which you can apparently still get on eBay. Walking the streets of New York, I came across one of the many street vendors on the sidewalk and he stuck out among the others because of what he had for sale. Even if buying wasn’t my intention, I still stopped and admired the fine craftsmanship of this piece of history.
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