Paul's Pictures Hits the Beach and a Lesson is Learned about what Street Photography Really Is

Longboard Walkers (Sydney Australia February 2015)

There is so much debate going on around the question, "what is street photography?". And, don’t worry, I have absolutely no intention of entering into that debate. I don't mean to say that I don't have my own definition, my own interpretation; far from it: I know precisely what it is for me. If any of you are interested, just type in "define street photography" into your search engine. You will come up with enough reading material to last a lifetime. And, don't even think about looking at the differences between street photography and social documentary: some people say there are a heap of differences, others say the genres overlap. For me, or rather for the majority of my work, the genres are more or less the same.

Anyway, moving along a little. I was rereading the definition of street photography on Wikipedia, and really liked the first paragraph (on the whole):

Street photography is photography that features the human condition within public spaces. Street photography does not necessitate the presence of a street or even the urban environment. Though people usually feature directly, street photography might be absent of people and can be an object or environment where the image projects a decidedly human character in facsimile or aesthetic

The "human condition" and "within public places" are two of the elements that speak to me. No need to be "on the street" (though I have to say, that's where I spend most of my time and do most of my work), and not even in urban environments, though my street photography is almost exclusively in urban areas. Just my preference really.

And, for me the second paragraph also resonates: 

Framing and timing can be key aspects of the craft with the aim of some street photography being to create images at a decisive or poignant moment. Street photography can focus on emotions displayed, thereby also recording people’s history from an emotional point of view. Similarly, Social Documentary photographers document people and their behaviour in public places for the purpose of recording people's history and other purposes; 

I think it's probably fairly clear that the image above does reflect the ideas expressed in these quotes from Wikipedia. Of course, for me this definition might be a little limited in its scope. For instance, I would add that my work seeks to not only record but to celebrate humanity and the human condition in a way that is guiuded by love, compassion and empathy.

I've written before that, while the focus of my work is not on the camera or the technical side of things, I do feel a responsibility to make the best possible photograph I can in order to do justice to the people who are gracious enough to appear in those photographs. So, I do take careful notice of framing and timing when I can. And, while I do believe that there are no ordinary moments, I do try to make my photographs at what we might call a "decisive" moment; that moment that allow for the expression of that extra something. It's hard to explain, but you know it when you see it. 

Longboard Walkers is for me one such image. On a day threatening to storm, some surfers walk along the sand while surfable waves roll in (odd as it may sound, the waves which look pretty tame in this photo, are actually at least six feet. And who says cameras never lie?). You can almost hear the conversation: where should we get in? Who's going first? And you can almost sense the emotions: the excitement and anticipation; even a bit of anxiety: after all it was a wild day.

Above all, the photo for me shows us a moment in time, a moment in history even. Longboards seem to be back in fashion after a long while out of sight, at least from what I've seen anyway. The photo says to me, this is life being lived; it says that, for some, there is excitement to be had in connecting with nature; it speaks of freedom, friendship, challenge, open spaces. It also gets me thinking about life, and how I really should carry on doing the things I love, cherishing the freedom I have, along with the love and connections in my life.

I know, this is my own photo, I made it; well along with the surfers and the waves and the stormy sky. So, you might think, it will obviously mean something special to me. But, if people looking at it get even a fraction of what I've been able to, then I will be well pleased and know that I have done my job.

Peace

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?