Close and Involved

Get close and involved. Oh I do love this.  Well before I get carried away with being so confident, I have to say perhaps I don't get as close as I thought.  My preferred lens for street work is my 24-105, now for this exercise I had to keep it at the widest angle.  Off I went taking pictures in a way I feel confident, however when I got back and looked at them all, I realised I had been unconsciously moving the zoom.  Not a single shot was at the full width. As I don't have a wide angle prime lens, I needed to figure out how to not slip into using the zoom. 
First I went out without a camera and watched and observed people and situations. You see so many pictures when you don't have a camera.  This I am coming to realise is a good thing.  When a camera is in my hands I'm taking pictures and not observing enough. Hence the note to myself, slow down. Next I taped my lens so I couldn't change the zoom.
I found if you have been watching people for sometime you can anticipate what is likely to happen. this group of pictures has more of that planning in them. Also I am more comfortable with this lens than the longer lens I used in the previous exercise.

Oxford Street is always a good place to start for street photography.
I spotted the guy with the cute teddy bear bag, clearly he had been left holding belongings while the owner was elsewhere. Initially I thought a picture of strong male, fluffy bag, was the picture.  Then the older woman with the heavy big bag appeared. Luck was on my side when the second male stepped into my frame with boots that look like a nuclear warning next to a sign offering benefits galore. All that happened in less than 30 seconds.

The beauty of living in London is there is always somewhere you can rely on finding something quirky.  Piccadilly Circus is a sure bet. Around here you can get close to people as there are so many tourists with cameras people don't notice another one.

I've found street photography has a rhythm, when it goes well you can get really good pictures. Other days, well best to pack up, go home and read a book. On the good days I can attempt to apply some of the skills I have acquired through my study.

I liked this picture as I felt I had managed to get some of the elements of design. Straight lines in the pillars the diagonals of the two people and the white shoe on the left leading towards the white line.

The next picture I anticipated. I saw the two woman walking down the road with their yellow bags.  I'd just passed the yellow lines on the road. So I raced back to the lines worked out where they were likely to walk and where I'd like to capture them. Then crossed my fingers and toes that no-one would walk in front of them at the perfect moment.  What I had anticipated worked.

However looking at it now it would have been even better if I had stepped slightly to the left and not have had all the distractions on the right hand side of the frame. A crop (below) shows how this improves the picture.

What did I learn from this?  In street photography where everything happens so quickly you still have to plan and remember all aspects of what makes a good photograph. A extra note to myself is remember the edges of the frame.

Standing Back

For this exercise we were asked to use a medium-long focal length lens.  I used a 70-200mm.

The first difficulty I encountered was the weight and size of camera and lens.  It is difficult to have a steady hand and to try and be unobtrusive (the key to great street photography).
My first session was at a busy railway station:

It was difficult to find somewhere to stand back and take pictures. Once I found a spot that had some chance of working then it became difficult to capture situations that would make a good picture with so many people racing by. For convenience I tried automatic focusing. That just didn't work. My lens was too slow in refocusing every time someone walked by. So had to change to manual focus and manual settings.  At railway stations most people are walking briskly.  With the picture above it took several attempts to capture the man on the seat without people walking in front of him. I also was trying to get more than him to make an interesting picture. The woman behind pointing balances nicely with the gentleman's hand.
I soon gave up and decided to try somewhere else. I figured Southbank might be easier.

You soon get spotted with a great big lens in peoples faces. Being half term break with lots of children around I thought I was likely to get into trouble here.  I decided I needed to find a cafe where I could sit outdoors and quietly observe without being so obvious.

This was the most successful way of achieving "the standing back" brief.  I still had problems with people walking by who were to close to me.  As I was sitting down I'd just get a big blur of the middle of them. I'd chosen a spot with only occasional vehicles going by so as to reduce that problem.

Overall I didn't find this an easy way of doing street photography. Sure you can get people unaware but it is harder to blend in.  I would rather work with smaller equipment and be mingling with people.  I don't mind if they spot me. Getting close gets better expressions. I felt more voyeuristic and uncomfortable with this lens. I can see that for someone else this might not be the case. I know people who find it really difficult to take pictures of strangers and would feel more comfortable putting the distance between them and the subject.  I don't find it difficult.  All of the pictures I have taken on this exercise I could equally have taken with a smaller lens and just got closer. If you are quick you can still get a picture without them being aware of you. I think it very unlikely I would use this lens again for street photography.

Exhibition - Doisneau

During my couple of days in Paris I took in the current exhibition at Hotel de Ville of Doisneau's Les Halles.  Every time I look at street photography of the 'greats' I see something else.  Generally what I see relates to what work I am involved in myself.  I've only just realised this relationship.  What I mean by this, is I am now more aware of what I am seeing in other peoples work in relation to what I am attempting at the time.
 So what stood out for me this time while viewing Doisneau's work?  Repetition. Going back again and again to the same place. This work spanned 30 years! I guess there is almost an obsession when a body of work means something to you.  Doisneau's Les Halles is the most brilliant record of a place and the people.  He felt strongly that the closing of the market in the centre of the city was like destroying the heart of the city. The moving of the market to Rungis was the end of an era.
How do I relate this to my work? Working on a project, such as my 'life on the streets' becomes part of you. Their lives are more important to me. I care about them and their lives, but I am still an outsider watching and recording.  I don't feel a need to be involved as a charity worker.  Doisneau felt strongly about his subject but didn't become a city planner.
At present I don't see an end to my project. Will I continue for 30 years? Probably not, but it is an interesting concept.

Capturing the Moment

Well I'm not Cartier-Bresson but I think I've managed to capture a couple of "moments" in the images below:

This one I think is amusing.  I had spotted this young girls with her stick.  Obviously bored with waiting for her family and was entertaining herself. I felt that something interesting might happen. So I loitered around watching her. I had looked away for a moment, then saw the policeman that was going to walk past her and the stick was in the air (prior to this she had been making sweeping gestures with it along the ground).  I didn't have time to focus properly so the picture is out of focus.  However I got all the "players" in just the right position. The girl looks as though she is either going to beat him, knight him or even fish him. The policeman's colleagues with their folded arms are looking into the scene almost as if waiting for her to strike him. It was all over in a split second. All the parties moved on moments later.

Another lucky moment.  I was standing looking up the stairs as the light was so lovely I wanted to create a picture in it. Three adolescent boys were standing behind the wall. One suddenly leaped over. I clicked (again with no time to focus) but caught him just as his feet landed and before he had time to straighten up.  A woman I assumed was mother prevented the other boys from following this ones lead.  I like the light, the two boys hands on the wall and the angle I captured the one who jumped. I'm happy with the composition of this picture.  The boys feet are right on the edge of the frame (but all there) he is still mid action.  Also the hands of the other two give that sense they are about to follow.  The light highlighting them against their dark clothes.

Developing your Confidence

The first exercise working toward assignment two is to take a lot of photos in a busy outdoor situation. In other words street photography.  The exercise is about you developing confidence.  I don't lack confidence in street photography.  Its not always easy to get great shots.  The group below are the better ones I took late one afternoon last week along southbank. I took all the pictures in about an hour.  What I try and get in street pictures is something a little quirky.  In this group the picture of the guy with the red hat between the coloured poles I think achieves this.  I also like to try and capture expressions. I captured a great expression on the face of the boy looking at the Hispanic Jews. The other expression in this photo is the exchange of looks between the man and woman in the background.

Assignment One - A Portrait

The difficulty I faced with this assignment is that of wanting to present the work of my on-going project versus a nice series of portraits where I had more control over the taking of the pictures.
I have opted for showing work from my project. My reasons are that this is the work that I want to continue with so this is where I really need to work out how to improve technically within the limitations I face.
The work continues from last year. I am photographing those around Kings Cross who have issues with alcohol, drugs and mental problems.  Most stay in hostels. Some are transient and live on the street, this second group I may only see once. Those that stay in the hostels can only do so for a maximum of two years.  Depending on where they are in that cycle will govern how long I get to follow them.  It has taken me several months to earn the trust that enables me to take most of these pictures.  I always give a good quality copy of the image to everyone I take a picture of. (with exception of those I don't see again to be able to do this).

This assignment required the same person taken in various type, style and sessions.  I wasn't sure I was going to be able to do this with one person.  I cannot control when I will see those that I am photographing or if I do if they will be willing to have their picture taken that day.

Debbie is one of the people I have been photographing. The images below were taken between November and two days ago.
 

Consider each portrait, Identify what has worked and what hasn't and why.

1. The first image was taken in the middle of the day.  I got her to stand in a doorway with the black door behind her to deal with the strong light and to avoid any other distractions around us.  I think this one would have been better if I had got her to look directly at me.  Although I do like her expression. She was concerned about her boyfriend this day.
2. The second picture is of Debbie with Deano, they were worried about the outcome of breaking their asbo.  I took several pictures and I did improve the cropping in others, but I liked the expressions in this image as it captures just how they felt that day. Fill in flash would improve the shadows in their faces but I never use flash for these portraits.  A big camera is intrusive enough for this work.
3. The third image gives a sense of place as well as person, which the previous two don't. I would have liked stronger and sharper eyes. It's a bit soft.
4. I was trying to get a picture that captured her not posing, the way she is when she tells me her stories.  I was happy I captured that.  However the lens is two wide and has distorted her face. It would have also been better if she was angled a little bit further to her right to have utilised the side window light better.
5. If only I had used a different lens!

How can I improve my own skills?
In the past couple of days I have tried using a small reflector for some of these portraits.  Where I am sitting with them and can ask them to hold it, it makes a big difference.  There will be situations where this is just not possible.  I am going to change to a fixed lens over the next few weeks as it is too easy with a zoom lens to zoom in too wide.
I need to be more aware of how people are posed, take a bit more time before I click that shutter.
I'm still missing something, I'm not sure what but the pictures lack that special something that makes them stand out.  I hope this course will help me resolve this.

Varying the Pose

I spent a bit of time on this exercise.  First looking at ideas in magazines and newspapers.  Then based on previous exercises I had to consider where I would take the pictures.  My place has too many distractions, the weather has not been great to consider doing a shoot outside.
I came up with the idea of photographing this model doing her training. The downside was I had to fit in with training times.  This meant getting up 6 am to go to the gym!
In previous exercises I had found that most people don't know what to do with their arms or hands, or which way to stand.  I'm also not great in giving directions as I'm still trying to work out what works.  However I have noticed that if the model has something to occupy their hands like holding a book for example then i can get natural poses faster.  Hence my rationale for photographing during a training session.
I was confined by the space in the gym and where equipment was placed.  However I tried to make that an advantage and get angles that I might now of otherwise have considered.  The lighting meant I had to use a high ISO as I didn't have the flexibility in shutter speed and aperture to work with. My shutter speed had to be high enough for my camera to be hand held. I was also trying to not let the apeture get wider than 5.6 as I didn't want to end up with important features overly soft. Or a nose in focus and eyes out of focus.

Overall though I was happy I got a good range of positions and expressions.  I did find I had to be very careful to not distort her too much with the wide angled shots. The second picture in the top row  has too much forearm, looking at it now I think it would be better if I moved slightly to the right.  I was trying to not do too many from a higher position.  Maybe a longer lens and a little further back would have improved this.

The second group were taken as she prepared to leave for a bike ride.  I wanted to try and get the whole body standing in this group.  I find this the hardest pose to get right. I find I generally end up with all the poses looking awkward.  What I did here was use a stairwell, and got her to hold her helmet.  This meant neither of us was obsessing about hands and feet.
I did a few with her putting her helmet on and off. I have quite a bit of hand movement in the image, (middle, third row) which I liked. 

Sitting on the stairs is the most relaxed and natural pose of all the pictures.  Sitting with something in the hands I find the easiest to get natural.