Seated in the Street (Sydney Australia July 2016)

Reading on the Run (Sydney Australia July 2016)

On a Hard Road

Gossip with Gusto Sydney Australia May 2016

Passing in Dappled Light Sydney Australia May 2016

Not so Well Hidden in the Suburban Jungle: When Camouflage isn't Camouflage

Not So Well Hidden in the Suburban Jungle

(Armidale NSW Australia November 2015)

I'm not a fan of camouflage, of the literal or the metaphorical kind. If you need camouflage, then you are trying to hide, trying to disguise yourself. But, I make no judgement here: I mean we are all prone to hiding something from someone at times aren't we?

Anyway, yesterday I was walking on the street leading to the centre of the small town we're staying in right now. And, I spotted this car parked outside some shops. Not a common sight, you might agree: a camouflaged 4x4 in suburbia. So, I made a couple of photos because it's such an unusual sight. Also, I liked the contrast with the shopping trolleys against this strange looking vehicle.

I then moved in to have a closer look, being the curious character that I am. The guy in the photo saw me, so I said hello.

'I bet most people don't see you coming driving this thing?' says I, in my best ironic humorous tone.

'Yeah, 'specially out bush. I park her under a tree and nobody sees me,' he replied.

We laughed, wished each other a good day and I walked on. Hey wait, you might be asking, why didn't you find out some more of his story? Well, the truth is, the guy must want his privacy. And if you are going to drive a truck like that, well, what's there to tell?

Peace

Centuries Old Artistic Tradition Enriching the Streets of a 21st Century City

The Sun Shines Upon the Artist (Sydney Australia May 2015)

In the city of Sydney there is a train station (and ferry terminal) called Circular Quay. And in that station there is a platform with a view that just has to be the best view from a train station anywhere in the world. Well, I am sure it's up there anyway. Anyway, today, as I looked at the view, I saw a scene that really added that something extra and it was right below me on the quayside pavement.

Pepe Gaka is a pavement artist, or as they are called in Italy (Pepe is originally from Turin) madonarri. I had never heard this term until today when I read Pepe's signs. So, I looked it up on Wikipedia and here's what I learned:

The Italian Madonnari have been traced to the sixteenth century. They were itinerant artists, many of whom had been brought into the cities to work on the huge cathedrals. When the work was completed, they needed to find another way to make a living, and thus often would recreate the paintings from the church onto the pavement. Aware of festivals and holy days held in each province and town, they traveled to join in the festivities to make a living from observers who would throw coins if they approved of the artist's work. For centuries, many Madonnari were folk artists, reproducing simple images with crude materials such as tiles, coal, and chalk. Others, such as El Greco, would go on to become household names.

Interesting stuff don't you think? And to say that Pepe's work is absolutely stunning does little to convey its beauty and extraordinary technical quality. And this artist is not only talented, he spends his spare time volunteering as an art teacher, gives away completed works to charities and is, in the next couple of months, headed off on a world journey that will take a few years and see him travel around Australia and New Zealand, to several Asian countries, to Canada and the US, before heading for Europe. 

Pepe makes his living from donations from passersby who appreciate his work, just like all the madonnari before him. It's a fine tradition, and one that is alive and well on the streets of this modern and cosmopolitan city thanks to this fine artist.

You can find Pepe Gaka at the following places online:

Facebook

Instagram

Twitter

His own site

Or, if you're really lucky, you can find him most weekends at Circular Quay in Sydney. Either way, make sure you check him out; you won't regret it

PS: I'm hoping to post more photos, and perhaps a short video, I am planning on making from that train platform. So, stay tuned!

Peace 

The Costs of War: Photos and a conversation about how poppies help us to remember

Remembrance: Passing By the Wall of Flowers

(Sydney Australia April 2015)

Sometimes, when I am photographing someone in the street, they see me and move aside, thinking they are in my way. Now, not being one of those dishonest hunting type street photographers, I do not pretend I am photographing something else while sneakily "taking" a photo of someone; my work is about connection and openness, a celebration, not stealth and cheating.

Anyway, enough of that little rant. Yesterday I came across a woman putting up handmade poppies onto a temporary wall in a public square. Knowing that it was part of the Anzac Day commemorations, I decided I would make some photos of the scene. The image you see above is the first one I made. I then moved closer to get a more intimate point of view. And it is after making the second image (below) that the woman in the scene saw me and moved aside "out of the way".

Wall of Poppies Sacred Site (Sydney Australia April 2015)

As I always do when people move out of my way, I spoke to her. Here's our little conversation

Me: "Oh, Thank you, but you are actually a part of the picture."

Her: (smiling) "Really?"

Me: "Yes. I really like what you're doing here." I stepped closer. "It almost feels like you are creating a sacred site. Like a prayer. And putting the poppies on the wall is a sacred act."

Her: "Well, it does feel like a special thing to be doing."

I then started to have a closer look at some of the photos of soldiers being put up along with the poppies.

Her: "Do you know anyone who died in a war?"

Me: "Well my father fought in Vietnam and was really messed up."

Her: "Oh, I'm sorry to hear that. Was it PTSD (Post Traumatic Stress disorder)?

Me: "Yes. Among other things. He eventually died of those wounds" And, then I just blurted out:
         "It'd be really great if you could think of him when you stick one of the poppies onto the wall."

Her: "What was his name?

Me: "John"

Her: "Well, I'll think of him when I put up this one (holding up a poppy)

Me: "Thank you.

Then we said goodbye and that was that. I have always opposed war of any kind, and I always will. My rejection of war caused a lot of trouble within my family, especially after my father came back wounded from the war in Vietnam. But that was part of the reason: I saw the damage first hand. At the same time, I understand the need to commemorate and honor the victims of war, whether they be the people fighting or the countless other lives wasted in every war.

This poppy making and hanging project forms a part of the 100th anniversary commemorations of the landing at Gallipoli in Turkey on the 25th April 1915 of the armies of Australia, New Zealand and a number of other nations in an attempt to take control of the Dardanelles. In the six month battle that followed there were about half a million casualties.

Wars go on, and will forever it sometimes seems. But, we can all stop for a minute sometimes to reflect on the cost of war. And, you know, it might just make a difference.

Peace to you all.

PS:
There are numerous references on the net about the significance of poppies. Here's a short quote from one:

Worn on Remembrance Day (11 November) each year, and also on Anzac Day in Australia and other places, the red poppy was the first flower to bloom on the devastated battlefields of northern France and Belgium in the First World War. In soldiers' folklore, the vivid red of the poppy came from the blood of their comrades soaking the ground.

Do take the time to check out more information on this fascinating topic.  

A Moment Shared with a Happy Dad

Happy Chatter Shares the City Square with the Birds 

(Parramatta Square Sydney Australia April 2015)

Strolling around the public square in the "suburban" city of Parramatta in the west of Sydney today, I came across this guy who seemed to be all alone, although the square was actually quite busy (the sun being out after several days of heavy rain). 

At the distance I was from him I couldn't see the expression on his face, but I liked the scene and made the picture. As I walked past him, he looked up and actually laughed. In such cases I always speak to the people I've shared a moment with. Here is our little conversation.

Me: Thank you (pointing to my camera to tell him I had made the photo)
I just loved the way you looked as if you were concentrating hard on your phone" (mimicking his pose).

Him: (laughing some more) I am just having a chat with my daughter"

Me: Well thanks for the photo, and have a good chat with her"

Him: (laughing again) Thank you

Nice eh? A great little moment shared with a dad who was so happy to be talking to his daughter, and was so proud to let me, a stranger with a camera, know about it.

One of the reasons I am a street photographer.

Peace

To the Streets of Sydney by Way of a Bus Ride to the Beach: There are No Accidents in Street Photography

Sideways Eyes (Sydney Australia February 2015)

I have had an aspiration for a long time now to photograph on the streets of Sydney, Australia's largest city. We've been in Sydney for about a week now and we're staying about 30 kilometers from the CBD in an area called the Northern Beaches. Until today, I've been spending a lot of time playing with the little dog we are caring for, gazing at the beautiful view to the sea out the front window of the house, and sorting out and catching up on postings to my site and other bits and pieces. But, today, I ended up on the streets of the city with my camera. But, to tell you the truth, it happened by accident (not that I really believe there is such a thing as an accident when it comes to my work-or in life for that matter). Anyway, here's how it came about that my long held aspiration has come to pass.

I thought I would go out and take the bus part way down the long peninsula that leads from north of the place we're staying in, past stunning beaches, through a dozen or more suburbs and on over the iconic Sydney Harbor Bridge into the city. My plan was to jump off and on at a couple of different beaches; I had no plan to head to the city today (being a bit tired and it being a long bus ride).

Anyway, I did get to get off the bus at a beach called Narrabeen. Perfect surfable waves rolling onto a wide expanse of pristine white sand that headed for a kilometer or more in both directions. Really your stereotypical world class Australian beach. And I loved it. But, after a quick walk it was back on the bus for the next segment of my mini adventure.

Not long after taking my seat I overheard a couple behind me talking about buying a van, fitting it out and heading around Australia. As this is a topic and project close to my own heart, I butted in and we were soon into a wide ranging chat about this couple's plans: before the van will happen they are headed to Europe via South East Asia and India for seven months.

Isn't it strange how one can bump into people along the way (or in this case on a bus) who just happen to be thinking things you are thinking, making plans you are making or have made, or who have or are about to go to places you've been or dream of going to yourself?

Anyway, to cut a long story short, the rest of the roughly 90 minute trip vanished in a flash, as did my plan to jump off and on at random beaches. Before we knew it, we were in the city center. So, after saying goodbye and wishing each other bon voyages, I found myself on the sidewalks of Sydney.

Well, I thought, I'm here now, so let's go for it. So, out came the camera and off I went. I walked around for a couple of hours only, and didn't make that many photographs, but still, it's a start. I've been outback for a few weeks and it does take time to get oneself back in the zone, back into the vibe of the street. But, boy oh boy, I did enjoy it.

So, accidentally (not that I believe ... oops, I've said that already) I ended up on the streets of the city I'd aspired to photograph in. Of course, it would have been only a matter of time before I ended up there on purpose, but I know it's not a second guessing kind of game, this street photography caper: it always happens as it's meant to happen.

And, today, it happened as it was meant to happen by way of a very pleasant conversation about mutually shared interest on a bus with two complete strangers.

As I say, there are no accidents.

Peace

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?

Two Can be the Loneliest Number (sometimes but not always)

One is the loneliest number that you'll ever do
Two can be as bad as one
It's the loneliest number since the number one

So opens that wonderful song One written by Harry Nielson and made really famous by Three Dog Night who recorded their version in 1969. Practically everyone else has recorded a cover of the song since then: from the Muppets, to the New Seekers all the way through to the Australian singer Johnny Farnham. You might have even heard the song on an X Files soundtrack. Why, even Lisa Simpson has had a go with this one (in The Simpsons Episode 553 for all you fans out there).

But, today we're here to talk about line number two: Two can be as bad as one. It isn't always, though, as I suggest in the title of this post. During my time on the street I get to witness scenes, lovely and not so lovely, inhabited by two people. Sometimes they are sweet and tender moments like this,

A Kiss Goodbye (Lisbon Portugal June 2013)

And then there are those sweet and romantic moments, moments when I know that there is love in the air, like this one (if I'd been any closer I would have been sitting at the table with them, yet they didn't notice me at all),

Romance and a Special Date (Katoomba Australia May 2014)

You could say that, as these two photographs show, two is not a bad number at all. In fact you might say it's a great number, one of the best! But, often I see scenes, and witness moments that don't seem quite so love filled. Of course sometimes the scenes are what we might term neutral, such as this scene inhabited by two people who are clearly strangers to each other

A Seat to Oneself (Perth Australia January 2014)

This, as we see, is a simple scene on a railway station platform, one person waiting, another just walking on by. Other times, the two people may be strangers, but there seems somehow to be a connection of some sort; a story we can imagine. Or perhaps the scene could be seen as symbolic in some way for some viewers. As in these pictures,

Every Face Tells a Story (Melbourne Australia December 2012)

Strangers in a Park (Perth Australia December 2013)

But, more often than you might imagine, I witness and get to share in moments involving people who might be known to each other or might not. Like in this one,

Not on Speaking Terms (Melbourne Australia June 2012)

As you can probably guess from the title, I have imagined these two as known to each other, but not on speaking terms. Someone has suggested they are father and son who've had a falling out. Who can say? One of the mysteries of the street.  Sometimes (again more often than you might imagine), I am privileged to witness and share moments of high (or perhaps the correct adjective is low) emotion between two people who it is clear are known to each other. Like these for example,

 It's Just Not Working Out (Echuca Australia July 2011)

 Sisters Thinking (Ramsgate England February 2013)

So Much for Our Happy Holiday (Echuca Australia April 2012)

Then there are those scenes and moments that exude emotion, but whether that emotion is a positive or a negative one, can't be worked out. Such as in this one,

La conversation intime entre deux amis (Melbourne Australia August 2011)

Is this simply an intimate conversation between friends as the title suggests? Or is it something deeper, more serious? We can only imagine. Whatever the emotions detected or being experienced by the people in these scenes, I do not treat images such as this lightly. The people photographed are sharing with me something of their personal and private lives. I can't, of course, know exactly what they are experiencing or thinking or feeling; my role is to share and record the moment. Emotions witnessed or recorded are of, of course, sometimes more positive, happier even. Such as this where the two people seem to be sharing a joke or a private happy moment,

I'm Saying Nothing (Katoomba Australia April 2014)

Again, I have no idea what these two are talking about, or thinking or feeling. It's just that the scene feels to me more positive, lighter. Still, it is a private moment and I am grateful to have been there to share it.

A good street photograph will evoke an emotional response in the viewer. And if the image itself has people expressing an emotion, then all the better. It makes it easier for us as viewers and fellow human beings to empathize and perhaps even understand what's going on, how the people photographed are feeling. A little glimpse can be gained into the emotional lives of others.

One last thought about the number two. There are scenes one sees on the street where the number two is both good and bad, depending on who's who. In such cases it is often the eyes that will tell you that three is most definitely a crowd

Holding Tight (Melbourne Australia June 2014)

Adding Titles In Street Photography: They can really help a photograph tell its stories

Once again I find myself at odds with a number of people in the visual arts world, and more specifically in the world of street photography. You see, I happen to think that it is of huge importance to give my street and documentary photographs meaningful titles, titles that can add to the power or enjoyment of my photographs. Yes, I've heard that a picture is worth a thousand words (just by way of introducing a tiny bit of trivia, a study has proven that a picture is actually only worth 84.1 words. Don't believe me? Check out the report here), and I have heard that we should allow a picture to speak for itself.

And I have heard, and also hold to, the notion that a viewer should be allowed to bring their own interpretations to a photograph: the photo tells the story, but it's up to the viewer to decide what that story is. However, I think words are important too, and they can be used to add to the story telling ability of some photographs. And, cutting to the point of today's post, words can clarify the message or story a photo is trying to tell. A few words can clear up confusion is one way to put it.

Have a good look at this photograph, and think about what story it is telling you (I won't include the title underneath like I usually do; I don't want to give it all away just yet!)

Well, here we have a photo of a man sitting on a train station platform swigging from a bottle. Those are the facts, which of course are not the story. What story you are being told here is for you alone to hear. I can only speak for myself.
When I composed this scene in the camera viewfinder, this guy wasn't drinking: he was just sitting there waiting, I presumed, for the train. Then, just as I was about to press the shutter button, he took a swig from the bottle. Bum, I thought, I don't do pictures of people drinking (as in alcohol) on the street (or even at train stations). Still, trying to stick to my resolution to not chimp (ie check the photo on the screen of the camera), I didn't worry about checking or deleting it and just shrugged thinking, oh well another missed one.

Then at home when I uploaded the files to my laptop and zoomed in, I saw that in fact it is a lemonade bottle he is drinking from. Not a train station, platform sitting alcoholic after all. But, what to do? I liked the image. I wanted to complete it and share it. A title! As I've said, I title all my photos anyway, but in this case the title needed to say a little more; it needed to clarify what this photo is not.

So, the title of this image is The Not So Secret Lemonade Drinker. Clever don't you think? Well, maybe not. But for me it clears up a key point of potential confusion (not every viewer will take the time to zoom in and check the bottle). Sure, I know I might have ruined part of the story for some. On the other hand there's still plenty there for a viewer's imagination to play with in order to come up with the story (or stories) this photograph is wanting to tell.

Of course a photo should speak for itself. Of course a picture is or can be worth many words. But, you know, if a picture really is worth a thousand (or even 84.1) words, then what harm can there be in adding a few more carefully chosen, thoughtful words that might actually add something more to the picture?

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

BEING SEEN: Sometimes it Makes the Moment

Smiling for the Camera (Melbourne Australia June 2014)

One feature of my street and documentary work is that I don't go along with a lot of the current "wisdom" about how it's done, how to behave on the street and the rest. Of course, we are all unique beings and each need to learn our own way, all need to find our own way of living and our own vision.

Take this photo for an example. Made on my first outing into the CBD of Melbourne this week. I saw this couple who, when I looked, were in their own little world. I made one image. And, rather than walk quickly away (as per received wisdom) I walked just a couple of steps and I waited with the camera to my eye. Then they both turned and looked at me with these "poses" (sorry another bad word in some circles), and I just instinctively pressed the shutter. And, here you see the result: a lovely portrait of a couple happy with themselves and each other. And, importantly, with being photographed (oops, another myth: people hate being photographed).

The first image I made works too, I think. An unguarded moment that just asked to be preserved. Here it is:

A Loving Couple (Melbourne Australia June 2014)

Now, these photos are very different: in the second one, the couple is completely unaware (at least on a conscious level) of my presence; in the first they have actually seen me. And, yes, it is true to say that my presence and my camera has caused a changed in their behavior. They are in a sense posing for the camera.

So, they are different photos. But, is one better than the other? I don't mean in technical terms; that's an area for someone else to debate. You see, I don't believe for a minute that the first image here is more or less of a valuable human moment than the second, despite the second being the more "candid" one in the accepted sense.

I think candid is a misunderstood, or rather an incompletely understood, concept in today's world of street photography. The common perception is that it means that the subjects of a photograph are completely unaware of the camera's presence. Of course that definition is valid in itself, but, to look at the dictionary definitions of the word, then the meaning is not so black and white (no pun intended. But it is funny though LOL).

The Free Dictionary (which I like to use for obvious reasons) includes this:
Candid as an adjective means:
      1. frank; outspoken; open and sincere
      2. free from reservation, disguise, or subterfuge; straightforward
   

The definition also includes the idea of a candid photo being "unposed". And, it is true that these two struck a kind of pose when they saw me and my camera. So, for many the second image is a candid, while the first is not. Okay, they are posing. But, really, don't you think it's a frank and open one? Do they seem sincere to you? Do they look to you to be acting in an unreserved manner and do they appear to be free of disguise?  Have they taken what you wold think of as a straightforward pose?

The answer to all these questions for me is a big yes.

Also, and as importantly, my approach to this scene (as it usually is) was a candid one. It is I think a matter of one's intention. I mean by this that I don't intend to have people see me or pose or change their behavior.  My attitude and approach is frank and open; I do not hide; I do not engage in "stealthy" behavior or "subterfuge" of any kind. I always try to be straightforward in both my way of being in the street and in my dealings with the people who do see me, and most of the time they are the same with me! The bottom line is that I always endeavor to be frank, outspoken (as in honest and speaking my truth), open and sincere in the way I approach my work and the people I am fortunate enough to photograph.

Of course, this is all just my opinion. But, it is my way of working and it does, well, work pretty much all the time. I think today's two photographs both have something to offer.  Yes, they are different, but they are both candid in their own way. Anyway, isn't it our role as street and social documentary photographers to record the so-called ordinary people going about their so-called ordinary lives?

Well, I think it is.

Peace

PICK OF THE WEEK: Working with children and animals

Spotted by the Kid (Katoomba Australia April 2014)

Kids and dogs are the ones that always see the man with the cam

I made this photograph a couple of days ago and just tonight, after posting it on a photo sharing site, a friend made the really groovy little quote above in his comments. And I thought, yes, it's true: even when the adults don't notice me, the children and dogs quite often do. For some reason it always surprises me and oftentimes I don't notice they've noticed me till later when I see the image on the screen.

As some of you know already, I do not mind in the least if I am noticed, or if people see my camera. Rather than "losing the moment" as is so often quoted as a reason to not be noticed, I think that being seen by the people (or animals!) being photographed can create another kind of moment, even a special one. Just like in today's Pick. 

I ask myself, and I ask you, would this be the image it is if the young boy hadn't seen me and looked up at the camera? I don't think it would. In fact, I actually think this is rather a good photograph of a charming ordinary everyday kind of scene. And now it is out there in the world for all to see and perhaps it will even generate a smile or two along the way.

And in fact I hope this boy's mum or dad sees the image and contacts me. I reckon they'd love a copy!

Bali: My month on the island of dreams has just begun

Hanging Out with Dad (Ubud Indonesia March 2014)

So many people dream of spending time on the island of Bali. And we were among them. But now we are here. In fact, we've been here four days so far. At this very moment we are in the central town of Ubud, an even more evocative site of dreams for some. First impressions are very mixed.  On the one hand there are the people. I don't ever like to stereotype people, so all I will say is that thus far we have been treated by every person (and I am not exaggerating. I do mean every person) we have encountered, with courtesy, kindness and a helpfulness and hospitality of a sort I have never in many many years of travelling experienced.  And there is the architecture; it is extraordinary. I mean it really is. For example, every house has its own family temple and the front gate to every home looks like the entrance to a temple with lovely statues (always including my favorite, the elephant god Ganesha), floral offerings and even incense. 

On the other hand in all those many many years of travelling, often in the world's largest cities, I have never before experienced the intensity both in terms of noise and congestion, traffic like there is here in Ubud. I have after two days yet to come to terms with the reality of it. If that makes sense. Ubud is a set of villages now more or less running into one large town, and there are only a few very narrow roads lined with buildings. So, what you get is a lot of  cars, bikes, trucks and pedestrians in a confined space which makes for maddening noise and chaos. Well, as I said, I've never seen the like in my life.

But, having said that, I am excited by the possibilities here in Ubud  for street and documentary photography. It's a very colorful place, with friendly people, lots of tourists and travelers. And there are so many wonderful streetscapes. This aspect of the town I love already.

I know that after a few days I will adjust to the negatives and relish the positives (I forgot to mention the great food. And then there is the tea! Best I've ever had, and what a relief that is after travelling to some very tea impaired places in the last year or so). So, to begin my positivity: I am typing this post which I will soon share with you all, on my laptop with my feet up in our very comfortable hotel room and can't hear a sound. Well there is the air-con! I think that, once I get out and into the street a few more times, this place will start to feel like home. I actually got a little hint of that vibe when out today for an hour.

So, stay tuned, for more posts from Bali.
Peace to all

PS I should point out that we have yet to explore outside the town. The traffic really does, from what we're told, affect only the central business areas of the town. I am also prepared to admit that my reaction could be a result of a bout of extreme sensitivity brought on by tiredness and travel weariness. As I say, stay tuned!

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

Meeting Scotty on a Sunday Morning Sidewalk

Let me introduce you to Scotty. I was out on the street early today, and so was he. Not too many other people about on a Sunday morning at just before nine. Not many with coins for the minstrel; not many passersby for me to photograph and share a moment with.

Scotty Singing on a Sunday Morning Sidewalk

(Armadale Western Australia February 2014)

Well, yes there were the Sunday morning "let's read the paper over breakfast" crowd in the cafes, but not too many people actually on the street. So, as I walked by, I shouted out to the guy singing and strumming on the sidewalk:

Me: You're an early bird. What's that expression?

Scotty: It's the early bird catches the worm.

Me: That's right. Have you caught any yet?

By this time I was standing next to him and we kept on chatting.

Scotty: Well not really, but you know I used to have a worm farm. I know how to do that! 

(this said with a laugh)

Me: Really? They're a great idea aren't they?

Scotty went on to explain how he kept a worm farm going through the hot summers and how he used the worms for fishing. Now, being a vegetarian, I can't help but go "Oh" at this kind of thing.

"Well, you know, I used to feel pretty sad about them myself sometimes," Scotty said, clearly picking up on my vege face.

"But those worms helped me feed my family," he added. We agreed that we all have to do what we have to do and sometimes it's not always how we'd like it.

We talked for quite a while. I learned a little more about him. He joined the navy at 17 and "saw quite a bit of the world". Now, he's a man of the road, a nomad. A lot like me you could say.

"I'm a free man," he told me. He went on to explain that his busking allowed him to eat well and he move freely wherever and whenever he likes.

"I put my tent and a few spare clothes in my pack, grab some food and water, and I'm right for a few days at the beach. I just pitch the tent in the sand dunes." Scotty has seen a lot of Australia in this way. And while he's at it, he's bringing a lot of joy to people in the street with his fine voice and guitar playing.

We chatted on about photography (the pros and cons of digital vs film, photoshop vs a traditional darkroom for working on photos), the various places around the world we'd both visited, and a lot of other stuff too. As you do on an early Sunday morning sidewalk.

Then I asked Scotty if he'd mind me making a photo of him. He didn't mind and, while I focused on making the photographs, he played an instrumental. Very groovy indeed! I thanked him, we shook hands and said our goodbyes. He started up a new tune and I turned my camera towards the now more numerous passersby.

PS I gave Scotty my card and he told me he uses the internet in the library sometimes. I told him to look me up sometime. I hope he does.  If you see this Scotty, I hope you like it mate!