Lesson 2 Getting Closer. Reviewing my images from my first adventure back to Street Photography, I realized that there was a lot of space between my subjects and I. This frustrated me a lot, not only as a result but also as someone who is quite comfortable walking up to people and asking for a portrait. So my goal this week was to revitalize that feeling of asking subjects for a portrait while on the street. No matter how you feel about him, there is a street photography blogger by the name of Eric Kim who honestly was one to first inspire me into street photography as a genre. I think I found his blog by accident when researching 35mm lens and the site held my attention. Eric wrote a small book titled “Street Notes: A workbook & assignments journal for street photographers.” Purpose behind this book really is to break you into the art of street photography by giving you 15 challenges to build your confidence and skill set. Chapter 1 is the 5 yes 5, No’s challenge.
5 Yes, 5 No’s is just as it states, is to ask complete strangers for a portrait on the street with the hopes of them saying yes but the possibility of them saying no. Easy enough right…a basic game to get you not only confident in approaching people but also to realize that most people do not mind having their photo taken. The challenge for myself, since I was shooting film, is to get 12 Yes, 12 No’s with the thought I would take 3 shots of each subject totally 36 frames. I attended the Atlanta Streets Alive Festival where Peachtree Street is blocked off for 3 miles and give or take 3 hours allowing people to ride bikes, skate, skateboard, rollerblade, or even walk down Peachtree without the fear of getting hit by a car. Long story less long I only managed to get 10 portraits at this event, but I was happy with that because I took some shots of moments happening (I just could not resist). I decided to use my Canon EOS 1N for this experience and Cinestill BwXX film. My past experience lets me know more people are willing to say yes if you have what looks like a professional camera in your hand verses a point and shoot, but if you and more challenging experience the point in shoot is the way to go.
I will be honest though even at an event with a lot of people many of whom were comfortable having their photo taken, it took me a while to break the ice. I would not call it nerves that caused the hesitation but more me being selective of who I photography. Its one thing to ask the first few people I saw for a portrait, it’s another to be selective. However, some people would just walk directly to you and pose while some were perfect candidates for the moment.
One of the best things about this challenge is you never know what may happen after you initially ask for that portrait. You my find out your subject owns a photography store that’s near by selling film and film cameras. Some may give you pointers on how to use your DJI Osmo 3 that you have difficulty putting to use because you’re mainly focused on the photography and not capturing behind the scenes footage. Someone may even tell you the best products for your hair to keep it looking healthy and full.
If you’re like me you may have seen some photographers on social media approaching strangers and asking for photos, so there is nothing new to what I am doing. I won’t aspire to be like those who do this on a regular, as after a while is does get redundant or boring, I say this until it’s time to pull the medium format camera out and all I want to do is shoot portraits. However, I do enjoy capturing candid moments more verses posed moments. Though it may be easy to take 100s of photos of absolutely nothing for that 1 keeper, I know for me the main thing is getting close enough to where I know and the viewer knows who’s the subject of the image.
Atlanta Streets Alive was a good time, Hot, but a good time nevertheless. To continue with this Street Photography 101 lesson I am on I have a few dozen rolls of film collected over the past few years that I would love to shoot before going full fledge into using my Leica Tri-X and Portra 800 on a regular basis. The rolls of Tri-X and Portra 800 just mean more to me than a Kodak Gold 200 or Fuji Superia 200. Not that those stocks aren’t good Just as I build my skillset up I don’t want to waste those film stocks on mistakes especially giving how expensive Portra 800 is now. Therefore I will continue to experiment with whatever else I have in my fridge and a few other film cameras I have including using the Leica more.
Until Nexts time…