Your Camera: An Instrument of Your Sub-Conscious Mind

Only art penetrates the seeming realities of the world. There is another reality, the genuine one, which we lose sight of. This other reality is always sending us hints, which without art, we can’t receive.
                                Saul Bellow (Nobel Prize lecture 1976)

Whenever we read something there is a part of our minds that immediately interprets what we are reading through our stored knowledge and experiences; through the unique filters we all have.  Same thing happened to me when I read this little excerpt from a famous speech. Immediately I saw how it relates to my own art, street photography. At least to the street photography that I practice.

Of course for many street photographers this is simply not the case. Much street photography is planned, searched out, hunted for (now this is a term I loathe when it’s used for street photography. We really have to do something about the language we use.), designed to highlight technical skills or even as an act of compliance with the current paradigms in the genre.  None of this is criticism, not at all. I’m just saying that while I consider what I do to be art, many do not. Fine I say.

Naturally I am alert to and aware of (not to mention constantly trying to learn more about) light, composition and the other factors that go into making a technically correct and decent photograph. The people I photograph deserve no less. But, I would say that more than this, or rather, before and in addition to these considerations, I try to open myself to the people and situations I photograph, to the moment. Yes, the moment. Again, pretty much like a lot or most street photographers.

My best hope is that I am open to receive moments that, while on the surface appear to be ‘ordinary’, and without any special or obvious meaning, are nonetheless able to reveal in some small (or perhaps not so small) way something of the essence of humanity, some small (or again perhaps not so small) insight into the human condition.

I think it’s true to say that for the vast majority of the time as we all go about our ordinary lives, we do not notice even a fraction of the moments that flow around us in the lives of the people who cross our paths.  (not to mention the amount of time we aren’t even aware of moments in our own lives that go unnoticed.)  And even if we become the flaneur as so many of us street photographers try to do, we still cannot on any kind of conscious level see and register every tiny little thing that goes on in our field of awareness.

But it seems to me that, at what we can call the sub-conscious level (I know that’s a huge space, there are levels below levels. Besides, let’s not get too technical here!) we do see more; we do take in a lot of the small, quickly moving and changing tiny details of things. Of gestures, of looks; all kinds of things enter into us at those sub-conscious levels.

This ability is inherent in all animals, including human beings. I think we all know that we would not have survived this long as a species otherwise. I know this is all pretty broad, but I think you get where I’m going, so stay with me while I get there please. Thanks!

Anyway, suffice it to say, we all take in all kinds of things, all the time, and at all kinds of levels from the glaringly obvious conscious level, right through to the very deepest of sub-conscious levels (and some say there are levels below that).

Those of us lucky enough to be roaming the streets of the world with a camera, have an instrument in hand that works very well in recording some of these little things (gestures, facial expressions, movements, and the rest) that under cameraless circumstances would only be received at some sub level and perhaps remain buried there never seeing the light of day.

So, many of these little details, while they may or may not be important to our survival, or even to our ability to navigate in our environment,  can be for street photographers the extra ingredient that makes an okay photo suddenly become a little more than an okay photo.

I came across one such photograph recently. This one was made back in 2011.

A Decisive Moment Best Forgotten

(Echuca Australia Nov.2011)

  

I spotted this parent sitting on that wooden wall with her children (there is a toddler to the left of the frame in this photo). The nice little family scene drew me in. I made one image of her sitting and including the toddler, then, suddenly, she stood up and went to grab her bag. I instinctively pressed the shutter again. To me looking at the camera screen after the event it seemed to me to be a good image of a parent’s burden, as she strained to lift the baby, grab her bag, watch her toddler and get moving all at the same time.

These are the things I saw on a conscious level. What I didn’t see till later on the computer screen was details of the baby’s face. Now, it’s a bit out of focus or blurred, but there, plain as day, we can see the baby being sick. Gross, you might say. Why make a photo of that for goodness sake?

Well, that’s the point you see: I didn’t make a photo of a baby being sick. At least I didn’t know I had at the time. But, looking back, I thought I must have seen that little detail at some level. And you know, I think it makes for a better photo. It tells that story of an overburdened parent even more strongly. Don’t you think? ‘Oh hell,’ you can hear the mother sighing. ‘What next?’

So, perhaps some deep level of my mind saw the whole story while my conscious mind (and my eyes) only saw the overall scene and my mind took action and made me press the shutter at that exact moment. Hence the title: A Decisive Moment Best Forgotten.

This sort of thing has happened to all of us. Share those moments with us!

Peace

Photographing the Self: What's it all really about?

Pucker Up and Pose for a Self Portrait (Almere The Netherlands July 2013)

Do you take photographs? And if you do, have you asked yourself why you do? Have you thought about the motivations, the reasons, the end results you are looking for when you make a photo?  Of course as a social documentary/street photographer, it is part of the job description to be questioning my own motivations, my own purpose and intention, on an ongoing basis. But, I have been thinking lately about that oft quoted observation: “everyone’s a photographer these days”.

I’m not into the debate about who’s a photographer and who isn’t. I am simply interested in what all those people who are now “photographers” are doing, and why. 

First up, I thought I would find out how many photos are posted each day on the internet.  As of February this year (2015) 300 million per day were being put up on Facebook, and the latest news from Instagram reports that over 70 million photos and videos are uploaded every day to their site. When you think that these are only two of many social media platforms (not to mention other types of websites), it’s probably true to claim that the total number of photos being made and then posted to the internet every day is many times those figures: hundreds of millions of photos. Every day.

There is no doubt that the proliferation of mobile phones equipped with cameras accounts for many, even most, of these photos. And according to my research, it seems that most social media sites are experiencing huge growth in the number of photos posted. Many claim that this suggests photography as a pastime or hobby is growing ever more popular.

While this may be true, I think there is something else at work here. I believe that most people making photos today are not doing it as a hobby for pastime: for the majority “taking” photos serves other purposes. Of course I can’t speak for everyone who posts photos on social media, but I am convinced that the camera (or more often the smartphone) has become for many of us another tool we use to get ourselves noticed, to “be seen” as one writer has put it. For many the photograph is not a way to explore or view the world or even “as a way of seeing what the world looks like in a photograph” as the prolific street photographer Garry Winogrand once said of his own reasons for making photographs.

Just take a scroll through your Facebook feed, or have a look at Instagram. On both you will see untold numbers of images of food, people’s meals and desserts. You will see photos (and discussions too) of the latest clothes the poster has bought and countless photos of people’s possessions: cars, computers, sound systems; the list is endless. And then there is the ubiquitous “selfies”. What we used to call self portraits have now become less a way for us to explore ourselves and our place in the universe and more a way to compete, to show off, to tell the world what we’ve got, how “cool” we and our possessions and our lives are.

You can even buy “selfie sticks”, equipped with Bluetooth no less, for taking those photos of yourself with your phone. I see them more and more on the street. Once upon a time it was fairly common to ask a bystander or someone passing by to take your photo if you were alone and wanted to record what you were doing or where you were. Nowadays, even this sharing and connection is denied as we slip more and more into a kind of narcissism which is aided and abetted by our materialistic and status driven society.

Remember Narcissus? He was that guy who came across a pond in the forest. Kneeling down to take a drink, he caught sight of his face reflected in the smooth surface of the pond. He was so taken with his reflection that he fell in love with it. He talked to it, smiled at it and tried to convince it to return his love, but each time he reached out to touch that beautiful face in the water, the image dissolved into ripples which faded away. 

Eventually he realized that the face in the water was his own reflection but he was still so obsessed that he stayed by the pond until he starved to death (one version has it that Narcissus was so grief stricken at not being able to possess his new love that he stabbed himself).

I think the lesson from this sad story is plain. The infatuation with mirages or reflections of ourselves is not healthy. As was the case with Narcissus, we can become so caught up in the surface reflection that we present to the world that we are not able to go any further with an exploration of self. Maybe we don’t take it the extremes that this guy did (he had already rejected love from all who offered it) but a fixation on that surface reflection does lead to disconnection from others, a growing lack of empathy and an over-concern for surface appearances to the detriment of the real us and what is really going on in and around us.

Am I saying that all “selfies” are bad? Of course not. Am I saying you should never share with your friends what you had for breakfast, or your new outfit/car/whatever? No, I am not. What I am saying is this: sometimes, just sometimes, when you are tempted to take a photo of yourself or your breakfast, look around. Ask someone near to you would they mind taking the photo for you.

One more thing: Dump the selfie stick (literally and/or metaphorically) and turn the camera or your phone the other way and engage with the world.

Peace

I SMASHED MY NEW CAMERA TODAY!

On Sunday I bought a fuji xt1 and the 35mm 1.4 lens. It’s a beautiful camera and the lens is so wonderful.

Today, on only my second outing with it, I was about to check the times on the bus stop for a FIVE minute ride to the train station (I was too tired to walk!). I heard someone to the side of me yelling at me, I turned and at the same time must have twisted my feet around because I caught my right foot on the curb and fell on the road. 

I had the camera on a wrist strap and it smashed against the ground and as if in slow motion I saw the lens bounce off. I even saw one of the really TINY screws roll away. They say these types of things can make you think it’s all happening in slow motion and you can see even minute details.

Anyway, the lens was torn from its mount (which stayed on the camera and saved the sensor I think) and the connecting electronic tape thingy broke. The body seems okay though the power switch smashed and there are some marks, But who knows what’s happened inside?

For me this is a huge problem. I really risked a lot to get the camera (I don't have work and no income at all at the moment except for the odd photo sale). No idea how much repairs will be but it will be a lot I am sure.

I am devastated by this and can’t help it. The person who yelled is mentally ill, so I don't blame him. As I looked at my watch before checking the bus times he yelled “What are you looking at your watch for?”. I know it sounds weird, but that’s what happened. What he'd said only registered after I was on the ground and crying. I couldn't believe it. He carried on yelling and threatening me as I lay there and even after we all got on the bus.

I know there are worse things, and I’m not complaining, I’m really not, but I am so upset and can't help it. 

But I will follow Fuji’s advice and send it for a quote. Meanwhile I will be without a camera. Again, I am not complaining. I have a LOT of editing to do and a few things to write. It’s just that I was so excited to finally have a camera that was giving me exactly what I wanted from my street photos.

Enough of this. It’s a big deal for me, but in the big scheme of things it’s nothing. And I am sorry for going on about it.

Peace and love to all

Street Photography on My Way to the Shops Today

I'm usually terrible when it comes to carrying my camera everywhere and all the time. I mean to say, I don't have it with me often enough. So, today we ran out of bread and bananas, and a clear and urgent call to replace and replenish supplies of these staples meant I had to head off to the shops, a ten minute bus ride away.

At first I thought, no I won't bother with my camera; after all oftentimes for me "chores" and street photography don't really mix that well. But, then, I had a real strong feeling that I should take it. So, I grabbed it and a spare battery and headed off ten minutes too early for the bus.

So, I strolled round the corner to the busstop. On the way, I was really attracted to the house on the corner opposite to the one we're looking after. I'd walked past it a heap of times, but today for some reason I thought I would make a couple of photographs of it. I know, I know. It's not what you might call classic street photography, but it is very much documentary I think. I mean, this is how people live today in this suburb. And in a lot of others too of course. Anyway, here's the house, or rather my photo of the house.

Storm Brewing Over Suburbia (Melbourne Australia June 2014)

A few years ago I gave myself a project I called Hometown Houses (you can see the collection on my website here) while we were living in Echuca on the Murray River in northern Victoria. Other commitments took over and I fell way short of my aspiration to walk every street of the town and to photograph all the houses that appealed to me or spoke to me. And then we left the town to embark on our current journey, so the project is kind of asleep or on hold, or paused. Stopped anyway.

But, today photographing this house, I had the brainwave. Why not start up the project again? Just this time it will be hometown in the sense of whatever town or suburb we happen to be living in. Well, okay, not such a brainwave, but I think it's a good idea nonetheless. I mean, suburban houses have a special appeal all their own.

They are where a large percentage of the population live (in this country and of course in many others). They so very often are a reflection of the society, the time they were built in, the occupants' individuality and preferences for how they want to live or what they think is important, and really are an important element of our society that cries out to be recorded. After all suburbia, like all things, is in a state of constant flux. New houses replace the old; new styles take over every so often. Yet at the same time, there are pockets where you will find houses of all eras side by side. Then again, in some suburbs you will find acres upon acres, miles upon miles, of identical houses or apartment blocks all built at the same time.

In any case, that's one of my new, or renewed projects, I'm going to work on. Today was a good day to take my camera out. I've reconnected with this project, but I also came home with a few photographs that fit more neatly within my humanist street photography practice. Like this one for example. This lady was waiting at the busstop to catch a bus going the other way. She just caught my attention. And we shared a moment!

At a Suburban Busstop (Melbourne Australia June 2014)

Oh, all those storm clouds. They looked like they were going to turn into rain, but they didn't. And that was a very good thing as at the other end I had to walk a few hundred meters to the shop. You will be happy to hear that we now have a pile of bread and a pile of bananas. So, we should be okay for a while even if the storm does come

Peace

PICK OF THE WEEK: Some scenes just make you sad

Self Portrait for Two (Melbourne Australia June 2014)

On the face of it you might not think there is much in this image to make me or you or anyone sad. Especially, you might tell me, given the number of images we are seeing everyday of people who are homeless, people who are experiencing trauma or who are in some other way vulnerable or disadvantaged. And of course, on the face of it, you would be totally correct: images of those kinds of things are distressing and make me, and you, and most likely a lot of people, very sad. Hopefully they also serve as a call to action for some of us. Hopefully photography in that context can contribute to change.

Sadly, however, far too many of the photographs I see of homeless and other disadvantaged and vulnerable people have an aura of exploitation about them. Oftentimes for so-called street photographers, these groups provide little more than "easy targets" for a "gritty and real street shot". In reality they provide nothing more than a kind of trophy for the photographer. But that is another story for another day.

Back to this photograph, made on one of the busiest corners in the CBD of Melbourne. These two people are (obviously) making a self portrait of themselves. They are standing diagonally across the road from the beautiful and historic Flinders Street railway station. A must see for tourists to the city. 

So, what is so sad here? Surely this is simply two tourists making a souvenir photo of themselves? And they are smiling aren't they? All good questions. Again, on the face of it, nothing is untoward here. And really even not on the face of it, I can't say there is anything untoward here. 

It's just that I watched them for a while as they were setting up the camera and tripod, and then the guy arranged his partner n just the right place, set the timer and joined her on the other side of the camera, and the photo was made. As they went about this process it was as if they were in a little world of their own. The crowds flowed around them, nobody (except me) even glancing in their direction. And, more poignantly, they didn't look at anyone else either in the whole time I was watching them and then making this photograph. I was about two meters away from them for five minutes and they didn't once look my way. I am quite sure they didn't even see me.  It was if they truly were alone on this busy intersection.

There just seemed to be something sad about the whole scenario. To me anyway. A sense of loneliness took hold of me as I watched them. And, really, that's all I can say. I don't have an explanation for why I felt the way I did. I mean, I often pick up emotions, become affected by what I see and feel on the street. And it's not always possible to pinpoint what causes a feeling or a sense.

Anyway, a good street photograph is one that causes an emotional reaction in the viewer. And it could be added that an even better street photograph is one that causes an emotional reaction in the photographer. One thing I can say is this: if sometimes I do have an emotional reaction to a scene I witness, then it suggests that at least some viewers will also have an emotional response of some kind. And, to me, that is a very good outcome indeed.

Peace

Composition in Street Photography is Humanist concept: A powerful interview

All street or documentary photographers will have heard of Joel Meyerowitz, and many (including me) admire him and his work. This interview speaks about composition in a way you may not have heard before. It's a very humanistic approach which I share and which goes against the grain of much street photography which seeks, in Joel's words, to "collect objects" or to put it another way, to objectify the world we seek to record with our cameras.
I have one point of disagreement with Joel, which is not a huge deal, well it could be. He says that with a rangefinder the photographer has one eye free to see the rest of what's going on around the scene, but an SLR with its viewfinder in the centre of the camera blinds the photographer to the context. I personally have only ever used SLRs and now a DSLR and I do not feel that I am ever unable to see or be aware of the surrounding context when I am working. It's just a technical thing, but don't let it convince you that you can't follow his marvellous advice with an SLR. It works very well for me.
What he says represents, I believe a landmark statement in the aesthetics of street photography and in my not so humble opinion, should be part of the gospel we follow as we take our cameras on to the street.