Eyes Front Eyes Down (Sydney Australia June 2016)

Gossip with Gusto Sydney Australia May 2016

Talking About Subjects & Objects in Street Photography

Run Don't Walk (Melbourne Australia June 2014)

I read yet another definition of Street Photography yesterday. And boy oh boy aren't there a lot of them around these days? But never mind that. What I want to talk about here is just a few words that really stood out for me. The writer was giving his definition and said something about "objects" in the street. At first I read on, then, suddenly, I realised he wasn't talking about the buildings, cars, buses or other inanimate things one sees on the street; he was actually referring to the people in the street as objects—as things.

People as things? I don't think so. But, as I read on, there it was again, and then again. This so-called "expert" on street photography was describing people as objects. Sorry, I know I'm repeating myself here, but I was and I still am just so flabbergasted at such an idea. And, just think how many people are going to read that article. Makes me shudder.

Anyway, it put me in mind of something a fellow Twitterer said to me a while ago. I forget what we were talking about, but I had used the word subject in a post, referring to the people I photograph in the street. Here's his reply:

I wouldn't even call them subjects. Sounds too clinical. I'd opt for collaborators. It's a partnership.

And he was right. Is right I should say.  Regular readers will know that I have been trying for a while now to start a conversation that will lead to a less aggressive, less acquisitive and gentler way of speaking about street photography (here's my blog post about language in street photography).

I have for some time talked about "people I photograph" rather than using the word subject. A change that has to do with my desire to change the language, but in truth prompted by my fellow Twitterer's comment quoted above.

As a street photographer, calling a person I photograph a subject really implies that that person is subject to, or in some way not on the same level, or holding the same power as me, simply because I am the one with the camera making a photograph of them. If anything I feel that the person being photographed is the one directing the process. By this I mean that they are the ones who invite or do not invite the photographer (that's me) to photograph them.

Of course for many this is all very esoteric and perhaps is even seen as complicating what some would argue is a very simple process. And of course, street photography when practised well is a very simple process.

How is it simple? Well, I don't mean simple as in easy: it's not always easy. No, I mean simple as in straightforward. We talk about being "in the zone" when on the street photographing. And when we are in the zone we are in touch with the feeling—the vibe if you like—on the street and in a deep way we are connected with the other people around us. In this way we just know if we are given "permission" to photograph them or not. Of course it's not at all spoken, this permission; it's more about the intuition of the photographer connecting with the flow of energies and feelings of others around her or him.

So, it is about language. But it is about more than the words we use to describe our activities as street photographers. It is about an attitude toward other people and the environment we are working in. It is about a willingness to be open to the sub-conscious wishes of others and just knowing at a deep intuitive level what is and what is not okay.

I talk a lot about sharing moments with the people I photograph. By this I mean a two-way sharing that takes place as I feel the rightness of making a photograph of a person or group of people. In this respect those other people are very much my partners (as in having an equal participation and 'investment'), collaborators with me in the process of creating a photograph that is then a true representation of that moment.

Street Photography really is a team effort isn't it?

SHARING MOMENTS ON THE STREETS OF LISBON: A STREET PHOTOGRAPHY SLIDESHOW

Hello friends

My first slideshow made up of photographs from my time in Lisbon last year. Lisbon is really wonderful for street photography, and this slideshow is really only a small sample of the images I have from that really intense and rewarding time.

I feel in a sense I have managed to convey a little of the mood of the city (Van Morrison's very groovy and intense backing track helps this happen).

I hope you enjoy the show and please feel free to comment, share, contact me or watch again!

Thank you for watching.

Peace

Ode to the Isle of Thanet: A Street Photography Slideshow

For most of the winter of 2012/13 I lived on the Isle of Thanet, in Margate to be exact. Due to the cold, I wasn't out on the street that much, but I worked when I was able and when I was in the right mental space. Thanet is a beautiful area, but down on its luck as "they" say. Decaying infrastructure, increasingly scarce social and other services and a general lack of energy, will or attention on the part of government, all have led to the area being very depressed. So, a lovely part of the world, full of people who deserve better is being allowed to decay. This slideshow of images made while I was there is dedicated to all the people of Thanet, including my son who lives there too.
Peace

PICK OF THE WEEK: "No Posh Nails Here" BUT there is more!

No Posh Nails Here, a photo by Pauls-Pictures on Flickr.

My Month in Nottingham in England is just about over. Leaving in a week. I know I haven't been what you would call either timely or consistent in my posts lately. Too much going on is my excuse. But, no point in excuses. One must simply keep calm and carry on.
While here (and this is the big news) I traded my Nikon DSLR and two big lenses (and all the bits and pieces that go with it, including a 3.5 kilo tripod) for a Sony Nex 7 and three lenses. Is it lighter? Is it smaller? Well, suffice it to say that in the bag (which itself is a whole kilogram lighter than my old one)  I bought with the extra batteries, cards etc etc, the whole thing weighs less than ONE of my traded in lenses.
But it's an extraordinary camera, this little Nex 7. At first I was having trouble with controls, being used to a big DSLR and all. But now it's coming together very nicely and I love it to death.
I actually feel free. I feel lighter. And I feel I can actually focus on making photos and not on lugging the big gear around all the time (or not lugging it around: it was all becoming too heavy and cumbersome)
I've spent a long long LONG time using SLRs, and I've been a defender of them as being good for street photography. I don't think I will ever go back on that particular opinion. But what I will say is this: I am so happy I've switched. I think I am now embarking on a brand new creative learning curve and who knows what will come from that process?
I think I will have a lot more to say about this switch-over. But right now we are getting ready for the next phase of our never-ending journey, and it seems other things are taking a lot of my energy and brain power (and that resource is quite limited at the best of times). Stay tuned.
Meanwhile, here is an image from an outing yesterday into the city centre of Nottingham.
You see a few of these advertising placards around the town, and, well, I think this one speaks for itself.
Peace!

I Am a Witness to Love, I Am a Street Photographer

Love. It's everywhere isn't it? Well, yes I know, it does depend on how one looks at the world, but often it's not that it isn't there so much as it is we don't see it. That is where we street photographers come into the picture. We are a very lucky group of people. We get to see love all the time and everywhere we look. Love between a parent and a child, love between a dog and its human. And then there is romantic love. I can't count the number of times I have seen - been lucky enough to see - couples obviously in love or loving each other.

Hello My Darling

I so often am privileged to witness that look of love that passes between lovers as they meet or as they part. It's a private moment, yet there it is in plain sight for the world to see, to witness. If only we would slow down so we are able to see it. 

It's the Look of Love

Mind you, sometimes a couple will be just sitting, passing the time together. Suddenly, one will look a the other and in that fraction of a second (John Free says all Street Photographers see the world in segments 1/500th of a second long) it takes to point the camera and click the shutter, such a look is passed from the one to the other, that it is a gift worth treasuring. I sometimes wish this couple could have a copy of this photograph. But, that's not how this thing works. It's a fleeting thing; a moment that comes, then is gone forever.

Lovers on the Grass

Then there are the times when from even metres away, the street photographer can just feel the joy being eperienced by lovers as they embrace oblivious to their surroundings and to other people passing by. It's as if the world itself is their living room. But, you know, I don't often get the sense people are "showing off" or "posing"; it is usually just two people expressing joy and love in each other's company.

Loves in the Park

Now, I am not one of those street photographers who goes out of their way to be invisible. I see no point in hiding or sneaking around. Of course this means that sometimes I am seen and more often than you might think, this can result in a great image too. People might sometimes change their pose a little, but overall they  like these two, maintain what they were doing (except of course they are smiling now for the camera). And these two were happy in each others embrace, and proudly proclaim that to the camera. I like this one!

Sunday Seaside Stroll

Another aspect to street photography that I absolutely love is its ability to change people's lives, even if it is just for a moment. Take this couple for example. Strolling on a beach path one Sunday morning. I just instinctively lifted the camera and made the photo as they approached me. Now, they were so engrossed in whatever was happening for them that they didn't notice me, even as we passed each other. Again, just intuitively I said to them: "It's great to see such a handsome couple". They both looked at me and smiled, then the guy said: "It is indeed".

That's all, nothing else, and all over in a couple of seconds. Later, as I looked at the photo on my computer, I noticed that they are both looking upset or at the very least really distracted by something. Who can say what sort of day they'd had or what kind of bad news they had received and were processing. 

And that's the point you see. I knew nothing of this at all when I made the photo. And, then, despite the fact they hadn't seen me, I spoke to them, and what I said elicited a smile and a humorous comment from the man. So, by acting on instinct, being fully present and going with the flow, it is likely I played a tiny part in cheering up two people who were quite probably having a bad day.

Like I said, I have so many images that are witnesses to love in many of its forms. These are a tiny few of the romantic love kind. I have had the great good fortune to see and share thousands of similar moments. And what's more, the fact I am actually there to witness and record those moments with my camera, means that I can then share these moments of love with others, with you. 

Street photography is a great gift to me and to all of us. Fleeting moments that come and are gone forever as I said earlier, are usually missed as we rush about just living our lives. But just because they are missed doesn't mean they aren't important or that they shouldn't be recorded for sharing with others and for posterity  I am one who is lucky enough to be called to do just that. And I am grateful.

Sharing a Sleeve

I'm Back: This post is a real treat: My photos accompany a beautiful song sung beautifully!

Hello my friends

Yes I know: it's been a while. Who knows how time goes and why and what happens when we allow it to fly by unnoticed or allow it to be occupied (ie stolen) by the mundane, unimportant and wasteful? Well, no more!! I am the master of my own time, and that's all we will say about it.

For my first post in this new era, there is a treat awaiting all of you.

A while ago I was asked by a folk singing couple if they could use some of my street photos as backing for a song by Bette Midler, The Rose, in a video they wished to produce. The Rose? How could I say no? I had already heard these wonderful artists doing their rendition of this fantastic song, which was the title track and name of the movie starring Bette Midler (if you haven't seen the movie, then please please get hold of the DVD).

And the result? Well when I first saw the video I was speechless. Susan and Colin Parrish had transformed my photos. Well, they were the same images: they hadn't changed. But as I watched them roll by and listened to that heart achingly beautiful song, I was blown away by the power and the beauty of the two very different art forms combined. And the message they wished to convey, and that which is inherent in this song, is there for all to see: Everyone is a flower, a rose. We all have that seed within us to become a beautiful bloom. We are all special, no matter what. I have tried to live this ideal, and I am grateful to Colin and Sue for allowing me to join with them in presenting this simple but profound idea to you all. I urge you to listen closely to the lyrics. They never cease to inspire and move me.

Both they and I have had very positive feedback from people who have seen the video. I hope you will enjoy it as much as they have. It's on YouTube and here is the link. After watching this video I am sure you are going to want to know more about these wonderful artists and their group Takin' Time. So, you can find their website here. I am lucky enough to have both their albums. Wonderful songs sung wonderfully.

It's good to be back on this blog. I hope it's good for you too!!
Peace
Paul

The Moment is only 1/500th of a second

The great street photographer and gifted teacher and mentor, John Free, has several videos that can be watched online. One of them is called 1/500 of a Second. In it he contends that as photographers, and as artists seeking to capture fleeting moments on the street, we really only have 1/500th of a second to do it in. This refers to the speed the shutter of the camera opens and closes in. Not long is it? And that's what he says. I've watched this video several times now and each time it makes more and more sense: I have seen for example in one image I took, a young woman who looks on the verge of tears judging by the way she's holding her mouth. But in actual fact she was laughing and chatting with a friend as they walked. I just caught her in that 1/500th of a second.

The way I use my camera is that I tell it what aperture to use. This means I determine the size of the hole through which light passes to the sensor in the camera. The camera then sets a shutter speed which will give the best (in its opinion) results. After watching Mr Free's video again today I thought I would look at some of my recent photographs and find one that had a shutter speed of 1/500th of a second. What I did was pick one pretty much at random out of three candidates. And you can see that above.

Who is it? What's it a photo of? I hear your questions. Well, this image represents, among so many other things, 1/500th of a second of this young man's life. Not a long time, you might be thinking, in the big scheme that is a single human lifespan. So, we see a young man, caught in a flash of a second. What else is there in this photo to give us a clue to those other who, what, where, when, why and how questions. There is a wire fence through which he is looking; there is a set of hands behind him clutching the wire fence. Then there seem to be blurred figures behind him in the background.

We can look at his clothes, his reversed baseball cap. That could give us a clue. Maybe. We see the word "Original" on the cap. Another clue? Perhaps. We see a metal ring piercing his lip. Now we're getting somewhere! Well maybe, maybe not.

And this is where I must offer an apology. I am sorry, but I can't tell you anything about this photograph. Well it's not so much that I can't; it's more that I won't. You see, I am a street photographer, an artist at large you might say. My job is to capture that "decisive moment" as the master Cartier-Bresson described it. Or the 1/500th of a second as the great John Free has labelled it. Something in the moment before I aimed the camera, then pressed the shutter, made me do it. I can't say what it is. Call it intuition, call it instinct. Or you could even call it an artist's sensibility to the environment and situation.

You see, it is you, the viewer of this image who has to answer the questions. But, you reply, how could we possibly know? We weren't there were we? That's true: I was there, you were not. The gift that street photographers give to the world is this: we offer you fragments of time, decisive moments, fractions of seconds, tiny tiny slices of lives as they are lived in all their day to day ordinariness and banality. We also offer you, sometimes at least, dramatic slices of life, humorous fragments, sad fractions. That's what we do as artists: we communicate our vision of the world in our own medium at a given moment. For me, it is that 1/500th of a second.

I invite your stories of what this image is telling us. This is not a trivial "guessing game" or quiz; this is an exercise in bringing into life stories. It doesn't matter really what the 'facts' are; the key thing is what truth can be told through art, through this particular 1/500th of a second.

Peace to you all.

Do Not Forsake Me: A Portrait For Our Times

All the casualties that I've left behind.
And I, and I hide them in the corners of my mind
All the memories, nothing I could sing.
I've learned so many things, but the bitterness remains.
I'm sick of drying everybody else's tears, with nobody to dry mine.
Don't, don't forsake me.
Why do you break me every time?
I'm asking you, don't, don't forsake me. Why do you break me? Again and again.
I can't make it alone.
All the judges and all the disarray.
You keep on trying me, but you're only pushing me away.
I don't want you to go, but I can't tell you're here.
You're just another soul that I'm making disappear.
I'm sick of drying everybody else's tears, with nobody to dry mine                                               


Used with thanks to Duffy the Welsh singer and whoever actually wrote these beautiful lyrics

Spilling Wine

I was once, I was strolling one very hot, summer's day
When I thought I'd lay myself down to rest
In a big field of tall grass.
I lay there in the sun
And felt it caressing my face
As I fell asleep
And dreamed.
I dreamed I was in a Hollywood movie
And that I was the star of the movie.
This really blew my mind,
The fact that me,
An overfed, long-haired, leaping gnome,
Should be the star of a Hollywood movie.
Hmm, but there I was.
I was taken to a place,
The hall of the mountain king.
I stood high upon a mountain top,
Naked to the world,
In front of every kind of girl.
There was long ones, tall ones, short ones, brown ones,
Black ones, round ones, big ones, crazy ones.
Out of the middle
Came a lady.
She whispered in my ear
Something crazy.
She said,

"Spill the wine, take that pearl.
Spill the wine, take that pearl.
Spill the wine, take that pearl.
Spill the wine, take that pearl."

I could feel hot flames of fire roaring at my back
As she disappeared,
But soon she returned.
In her hand was a bottle of wine,
In the other, a glass.
She poured some of the wine from the bottle into the glass
And raised it to her lips
And, just before she drank it,
She said,

"Take the wine, take that girl.
Spill the wine, take that pearl.
Spill the wine, take that pearl.
Spill the wine, take that pearl."

Take that pearl, yeah.
It's on girl, all you gotta do is spill that wine, spill that wine.
Let me feel, let me feel fine, yeah, yeah.
Spill the wine, spill the wine, spill the wine, spill the wine, spill the wine, spill the wine, spill the wine, take that pearl.

With huge acknowledgement of Eric Burdon. Thank you for the music, man