On 20/07/2011 9:57 AM, Christine Aguila wrote:
I suspect, in reality, he is talking about intellectual distance, not
physical distance, which is what Capa was talking about (and probably
what got him killed).
I find if I am not at least somewhat intellectually connected to my
subject, my pictures are complete crap rather than just mostly crap.
Writers establish what's called psychological distance between the work
and the reader primarily through point of view (language itself can
contribute to this)--1st, 2nd, 3rd person pov, and all the shades
thereof. Through what photographic technique does a photographer
minimize or maximize intellectual distance? Cheers, Christine
I don't really think it is so much of a photographic technique as an
operational technique. As Paul mentioned, the subject being unaware of
the photographer is what works for him, and while I am by no means an
aficionado of street photography (quite the opposite in fact, I just
don't get much of it), I do know from my wedding photography days that I
do get different expressions from people when they are being posed
compared to when I am shooting pictures of the reception line.
I have an unenviable knack of catching people at their worst in candid
situations, making the most attractive people look like retards and the
plain people looking like retarded trolls.
Unfortunately, often my portraiture isn't much better.
We had a guy on the list here somewhat before your time named Shel
Belinkoff. I found his street work to be quite compelling, though he had
more of a knack for capturing pathos than anything else.
He described his method as engaging the subject until they were
comfortable with having a guy with a camera nearby and then he would
snap a few photos.
I've always found this image of his to be quite touching, and his
description below describes what was often his way of working:
http://pug.komkon.org/00apri/bobangel.html
Others will think it quite banal, overdone, or perhaps a bit too
affected, but there is no way he was keeping any sort of distance from
his subjects. At the same time, I see a lot of genuine emotion in the
example given, anyway.
It seems to me that in street photography, it is fairly important to
have the subject unaware enough of the photographer that he or she is
not mugging for the camera.
What Paul suggests is one way, and I think in many respects, it is the
easiest way as well (no offence intended, Paul). I'm shy enough that on
the very few occasions I attempt the genre, it is my way also.
Paul has much better timing than I do, and he seems to get at least
decent results, whereas I never seem able to rise out of the gutters of
street photography.
I suspect that what is important is to not put on a dog and pony show
and expect to get images of people who are not affected by your presence.
--
William Robb
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