Showing posts with label street photograph. Show all posts
Showing posts with label street photograph. Show all posts

Saturday, June 14, 2014

One Street Photography Lesson I've Learned from the singer Kenny Rogers

I'm republishing this from a few months back because I think it's a lesson worth getting out there. Enjoy!

Okay, let's begin at the beginning. Kenny Rogers is (or was) a very big name in Country music. Not an obvious introduction to a post on street photography you might think. Well, you see, among his many chart topping hits, there was one called The Gambler. He made that tune famous!
  Anyway, it's about a couple of guys stuck on a "train to nowhere". One, a gambler, starts talking to the other guy because they're both too tired to sleep. He says (and forgive my paraphrasing) "You know son, I make a living out of reading people's faces. And I reckon that yours suggests you've seen better days. So, if you give me a swig of your whiskey I'll give you some advice, an 'ace' you can keep". Or words to that effect.
   He then drinks the whiskey and starts to give the guy some really good advice about knowing when to walk away, knowing when to run; when to hold your cards and when to throw them away. Still, I hear you saying, what's this got to do with street photography? Okay, here's the bit of the song I'm talking about:
You never count your money when you're sittin' at the table.There'll be time enough for countin' when the dealin' is done.

Still not being real clear am I? Alright, here it is in street photographer lingo:
You never chimp* while you're on the street and still making photographs. There'll be plenty of time later once you've uploaded your memory card to your computer for checking how many good ones you got, and how many you didn't; what you've done right, and what you've done wrong.
Now, all of us who use digital cameras have been guilty of such behavior. And it's a very bad habit! I mean, while you're busy peering at the monitor on the back of your camera, you aren't there and then; you're no longer on the street. You are no longer of the street—and you are no longer in the moment either. You're off in your head somewhere, analyzing. You've left the Zone'! Not only does it take some time to get back into the Zone when you lift your head once again to the street, just think of what you have missed as the life of the street has just flowed right on by while you've been distracted by your monitor analyzing.
  Many street photographers actually turn their monitors off, so they aren't tempted to 'chimp'. And of course this is where our film using sisters and brothers are ahead of the game. They have no choice but to wait till later to see what they've got.
  The gambler gives his advice about not counting your money while still at the table because he knows that once you take your eyes, mind and heart off the game, you set yourself up for a losing streak. Think about when you last caught yourself chimping. Do you think you missed some good opportunities? Did you miss some good moments? Did it take you some time to get back into the game, sorry, I mean the Zone?
  So, here's what I suggest you do: Resist the temptation (and after several years of photographing on the street, I admit I still succumb occasionally—and pay the consequences too). Just don't look at your monitor. Turn it off if you like. It really is that simple; Tough love of this sort is the only solution. Actually, that's the tough part. You can add some love by setting up a reward system for when you find yourself not chimping for a whole session on the street. Here's what I do: I remind myself that I am going to sit down "in a little while" to have a coffee or cup of tea. Just to rest my legs you understand. If I've been good and not chimped, I will then—and only then—allow myself a quick run through of the images I've made so far.
   But, even then, though, I don't like to spend a lot of time analyzing what I've done. If I do, I run the risk of getting too much into the thinking mode, and right away from the Zone where I am really in and of the street, and in the moment. And, really, that's where the best street photographs are made.


*The Urban Dictionary defines 'chimping' as:
What one does after taking a picture with a digital camera and looking at the result.(My Note: The street photography take on this would be: checking whether or not we have "captured the moment").  Derived from the words they (photographers) speak when chimping: "Ooo-oo-oo!" (as in the sounds chimpanzees make)

 Disclaimer:
         I do not endorse gambling. In fact, I believe gambling (as in poker, horse racing, sports betting            and the rest) is a curse and more often than not simply another way for the rich to get richer on          the backs and with the money of the poor.


Tuesday, October 11, 2011

Lightroom Black and White Processing for Street Photographs See My Video!!!


Well my friends I am venturing into the wonderful world of YouTube! I have not only put up four slide shows of my street photographs, I have now produced a video of the Lightroom process I use when preparing my street photographs for the web.I find that for the vast majority of images, Lightroom is all I need, only rarely venturing into Photoshop for any odd bit of cloning or similar. But, I avoid that as much as possible, particularly in my street work. I hope you find it illuminating and, as always, your comments or criticisms are most welcome.
PLEASE GO HERE TO VIEW THIS VIDEO!

Saturday, July 23, 2011

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.

Thursday, June 16, 2011

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

Sunday, May 29, 2011

Come on People, Get in the Groove ... Please


All the world over, so easy to see
People everywhere just wanna be free
Listen, please listen, that's the way it should be
Peace in the valley, people got to be free
You should see, what a lovely, lovely world this would be
If everyone learned to live together
It seems to me such an easy, easy thing this would be
Why can't you and me learn to love one another
All the world over, so easy to see
People everywhere just wanna be free
I can't understand it, so simple to me
People everywhere just got to be free
Ah, ah, yeah . . . ah, ah, yeah
My deepest gratitude to the Young Rascals for this terrific song

Wednesday, May 4, 2011

While My Guitar Gently Weeps, I Also Weep. To George Harrison with Love


I look at the world and I notice it's turning
While my guitar gently weeps
With every mistake we must surely be learning
Still my guitar gently weeps



My respect and appreciation to one of the greatest artists, George Harrison

Tuesday, May 3, 2011

I Just Act Like I Don't Remember and Mary Acts Like She Don't Care


I come from down in the valley where mister when you're young
They bring you up to do like your daddy done
Me and mary we met in high school when she was just seventeen
Wed ride out of that valley down to where the fields were green

Wed go down to the river
And into the river wed dive
Oh down to the river wed ride

Then I got mary pregnant and man that was all she wrote
And for my nineteen birthday I got a union card and a wedding coat
We went down to the courthouse and the judge put it all to rest
No wedding day smiles no walk down the aisle
No flowers no wedding dress
That night we went down to the river
And into the river wed dive
On down to the river we did ride

I got a job working construction for the johnstown company
But lately there aint been much work on account of the economy
Now all them things that seemed so important
Well mister they vanished right into the air
Now I just act like I don't remember, mary acts like she don't care
But I remember us riding in my brothers car
Her body tan and wet down at the reservoir
At night on them banks I'd lie awake
And pull her close just to feel each breath she'd take
Now those memories come back to haunt me, they haunt me like a curse
Is a dream a lie if it don't come true
Or is it something worse that sends me
Down to the river though I know the river is dry
Down to the river, my baby and I
Oh down to the river we ride



Thanks Bruce, for the music and the lyrics that are truly poetry