Street Photographers Can Help Change the World for the Better

Lovers at the Shop Window (Amsterdam August 2013)

Reading a post from the Book of Life site, reminded me of a dilemma many artists, many street photographers face: how do we practice our art in a world cursed by suffering, conflict, environmental decay, corporate greed and the rest?

The post poses this question.  The opening paragraph reads:

The cultural elite gets nervous about cheerful or sweet art. They worry that pretty, happy works of art are in denial about how bad the state of the world is and how much suffering there is in almost every life.

It goes on: have we forgotten about the misery, corruption, and suffering?

The author proposes that, rather than having forgotten, the reality is we feel too small, too inadequate to the task of doing anything, so we withdraw from the struggle.

At this point, I have a confession to make. I wish I knew far less than I do about the suffering that is going on (and always has) in the world; I wish I knew less about history and how the political and economic systems that plague us all work*.

It’s hard to be optimistic, to have hope that things will change for the better. But the author suggests: ‘Cheerfulness is an achievement and hope is something to celebrate.’

That’s where artists come in. That’s where street photographers come in. I know, not all street photographers believe what they do is art. That’s okay; doesn’t matter what you call what you do. Same difference, as we used to say. The point is, artists need to produce art that inspires hope, that celebrates the good in the world and celebrates humanity.

Of course it is also the artist’s role to highlight the suffering, the inequalities, the injustices, the threats to the planet. In fact without these artists there are many people who would be able to say, “but we didn’t know about … . " The role of the artist is to make sure nobody can ever make this excuse.

But, I and I suspect many other artists, aren’t able to focus on that side of things. For me at least it is not a case of not wanting to, or that I don’t care. It’s more that I am physically and mentally not able to.  However, I do not ignore the suffering in and of the world; I do not deny it and pretend that all is well.

What I choose to do about it is celebrate humanity through street photography. I choose to photograph the ordinary moments in people’s lives; moments in which they might be expressing joy or sorrow, laughing or crying, going about the normal business of daily life. I choose to do this as my way of contributing to change in the world.

Sound pretentious? Sound a tad immodest? It’s true that street photography doesn’t seem on the surface to be a part or the political or moral and ethical battles which at this very moment in history are determining the future of humanity and of the planet. After all, one might ask, how is the making of photos of people doing ordinary things in the street help anybody?

It is a valid question and I will try to give an answer that means something.

After World War II the French Humanist photographers, as well as other artists around the world, sought to shift the focus; after so much death and destruction, they turned their cameras (and paint brushes, music and the rest) towards the good in humanity. They sought to celebrate life.

In France, photographers began focusing on a number of themes which, for them, reflected this desire to celebrate humanity. They seem obvious to us now, but then, after so much pain, their work represented a revival, an affirmation of survival and the possibility of a good life:

• Lovers. Couples kissing or otherwise showing affection. Couples strolling and enjoying each other’s company.  Such scenes, such moments, demonstrate our resilience as a species.
• Children. Children playing. Children enjoying life, laughing and being, well, children. After years of war people must have been overjoyed to see children once again free to be.
• The Family.  Photographs of family groups, of families around a table enjoying a meal and the company of loved ones. Weddings too, played a part. Again images of normality, of hope in a future brighter than the past.
• Work. For so many years the main role of working people had been to fight or to otherwise support the war machine. Humanist photographers saw the workers as the new heroes, so they showed people engaged in all kinds of labor and occupations to celebrate their efforts and nobility.
• The street. As life returned to normal, photographers began to portray people going about their ordinary business: shopping, chatting in cafes, gossiping on street corners, buskers, stall holders and others making their lives or living on the street. All the ordinary things that for so long people had been denied.
• Public Gatherings. During the war years, there was little tolerance of public gatherings. So, now that peace had come, photographers spent time recording fetes, carnivals, festivals and the like. Documenting  these celebrations of community became a big part of humanist photography.

Of course for a great many street photographers these themes form the foundations of who and what they photograph. But how many of us think that we are helping to change the world?

Now, intention is key. It is why you make photos that will, at least in part, determine the impact they have the potential to make.  I can’t speak to anyone else’s reasons or intentions. I can only say that for myself, photographing ‘ordinary people’ doing ‘ordinary things’ is an act of resistance to the dehumanizing and numbing power of the obstacles all people of goodwill are up against.

In this way, there is a possibility that my photos might bring a smile to someone, or perhaps prompt a happy memory or even suggest a course of action.  And then there might be a time when a photo of mine brings a tear to someone’s eye, or brings up a sad memory. Both are valid; both are about what makes us human and both  just might have a chance of engendering a little hope.

Why do you do street photography? What do you hope comes from your photos?

Peace

*     * No, this isn’t true. After all, ignorance isn’t bliss, it’s just ignorance.  I just wish it didn’t upset  me as much as it does, but then, if it didn’t, what sort of person would that make me? And what  use would I be as an artist?

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?

Street Photographers Changing the World

A couple of days ago I came across Vincent G., a street photographer from York in the UK. And I thought, this guy thinks just like me! Now we all know how great it is to come across someone who thinks like us don't we? What I like about his work is his attitude and approach to street photography. He's not out there stealing souls; he's not hunting people, not flashing his camera in people's faces. No, he respects his subjects. He considers how they feel about being photographed. I would even go so far as to suggest that he beleives he is privileged to be allowed to photograph people in the street. Above all he in convinced that photography (in his case street photography) can change lives. And we all know that if we can change the life of an individual, then we are in effect changing the world. We are, by our work as street photographers  making the world a better place one photograph at a time.
Anyway, enough from me. Gary has kindly given me his permission to share with you his latest blog post. It's an inspiring story and one all street photographers could learn from. Oh, be sure to visit and follow Vincent G.'s blog here. 

Photography changing lives

POSTED ON MARCH 29, 2013

2

Photography is my way of documenting life, primarily it’s street but every now and then an opportunity arises to do something unexpected and challenging. As i walk the back streets looking for photogenic moments that will tell stories i pass a wedding shop window where a pretty woman sits legs crossed staring into the abyss surrounded by white wedding dresses.

This was a moment i couldn’t resist but also one where i respect the person’s wishes, this is obviously a very important day for someone? I venture in cheekily asking if i could take her photo she smiles and happily replies yes . . . After further conversation she explains she’s there for her daughters dress fitting making this a more personal moment and one i didn’t want to intrude on.

I quickly took a few shots and said thank you and left! I walked away thinking was she really ok with it or did i put her on the spot? I suppose i’d never know, although i did tell her my name so hopefully she’d contact me???

Days passed and i really liked the photo and was hoping she’d somehow get to see it. A week later i get a message on flickr “it was the lady from the wedding shop” She tracked me down and created an account just to express how happy she was and how i made her week, she went on to say that she’s not very well and this photograph and all the nice comments she’d been reading had really cheered her up.

Sometimes its moments like this that prove a simple photo can change lives, make a change with your photography and keep chasing those clicks. “ Happy Easter “