Street Comeback
street comeback
Intro:
Welcome to my blog about the flow of street photography and how this has become mentally invigorating and good for my wellbeing.
I have been photographing Plymouth over a long period of time, having started when I was studying at the University of Plymouth. Over this time I have been learning the art of finding what I want to capture and the capturing of the image itself. There is a buzz to finding an interesting subject, that mixed with the ability to capture it in a way that others will relate to and appreciate is addictive. I am going to include a ‘but’ here, as much as this sounds really very exciting, it can also be challenging and somewhat draining, this may be because you have put too much pressure on yourself, you are struggling to find what you thought you would, or perhaps an off day. How do you therefore keep going, keep motivated and keep capturing?
Tips for keeping the motivation:
1. As I mentioned in my last blog, I have been revisiting the images in my project so far to see where and who I have captured before. I find it helps to keep an eye on my images to ensure I don’t go off on a tangent...a bit like writing blogs! It could be easy to get held up looking too much at a certain ‘type’ of individual to capture, or a specific location, likewise it might become too broad and therefore disjointed. It’s important to remember my goals, but to also keep the project progressing and moving forward, allowing for the development to build without too many constraints. I guess it is a balance that must be learnt, in the images but also in a project as a whole.
I once thought that a project would have a time limit, perhaps spend a year on one and then move on to the next, but as my skills deepen, so does the project. Perhaps I will always be building on this project with no time limit in a way, it becomes part of you. Although as I think this, my brain is intrigued as it fills with fresh ideas, again, it is a balance.
2. When out on the streets I start by snapping a few warm up photos, these are normally of architecture or graffiti, partly so I can set the camera up for the right light on the day, but some of these will also form part of my final project imagery, as it sets the scene of the city, and provides the viewer with context and more visualisation.
I found that shooting in the city can be overexposed because of the harsh lighting but I don’t want my images so dark that they are hard to edit or see. I put the camera on F8 so that everything within the frame of the image has depth. I need to remember that with my full frame camera, if I am too close to a subject or an object then it could be out of focus. I set the shutter speed to 1000 and may go as low as 500/250 if the lighting changes, I don’t often change the aperture so this will always stay at F8. Once I have control of the camera and the images are set to how I like, I will then focus my attention on the subjects and architecture of Plymouth.
3. When looking for the right subjects to capture, it is common for me to walk 10 miles, it can be time and mind consuming to hunt and find the perfect subject and image. Instead of this being a negative experience, I have realised how fortunate I am to be able to walk this far, to spend time perusing my passion and interests. I find the walking and consuming nature of finding people and situations to capture quite mindful, distracting me from all other aspects of life.
Picking up the camera and continuing with my project has helped to free my mind after such a challenging year, and I am finding that I am also not as concerned to only capture the ‘perfect image’. Instead, I am capturing what interests me and makes me smile, and I’ve found comfort in this.
4. In conjunction to capturing what interests me, I look to frame a subject amongst the background of Plymouth, such as architecture, which is aided by me setting the lighting and taking some early shots of the architecture at the start of my shoot. This framing concept has helped my work to evolve, and change somewhat from how my project was first conceived.
Something I realised when reviewing my images, was that if I was to only take close up images of subjects, then in theory they could have been taken in almost any environment, in any city. In order for the viewers to connect the images within my project and to connect them to Plymouth, I needed to place the context of the city in the images. The subjects are in the city, perhaps they live there, are there for work or a trip, but their connection to their location is part of the interest and reasoning behind the image, the telling of their and the cities story.
I have found this new way of thinking sometimes more challenging as the background is another element to carefully consider, it needs to be the right balance between intriguing and yet not overpowering the subject.
Vibes from the street:
From my latest street photography shoot I was unsure of what I would capture, I had checked local news but nothing in particular stood out. I also checked the weather forecast as I wanted to capture some images by the seafront whilst the weather looked good. I went to the Plymouth Hoe in the morning, hoping to capture something different to my usual style, this had been unsuccessful until I was ready to return to my usual spots, when I saw some interesting architecture and the reflection on the roof of a car.
As the rain started and I took shelter, my mind started thinking more about a hot coffee, as I then spotted a guy wheeling over some stock to a shop which dropped to the ground making a loud slap, and as people went over to help, I quickly started capturing the incident, helping in my own way (I say with a smile on my face). It’s these moments which can’t be planned, you just have to be open and ready to capture what you notice, without second guessing.
The city was relatively quiet, the light also kept changing which made it more challenging. As I was getting ready to leave, I noticed a couple holding hands with a really visually pleasing backdrop; a corner of a building with colourful and signs covering the windows. I positioned myself so that the building was exactly where I wanted and then waited for the couple to be within the shot. This turned out to be one of my favourite images from the day, what mostly caught my eye was the tag along she had in her bag!
Overall, I have found the return to street photography to be good for the mind and soul, helping me to focus and distract me from being caught up with every day life. Being out and about walking around has given me a focus and a project to think about in some of my down time from work and home.
The return to Street
Return to street
Overview and Introduction
It seems fitting that my first blog of the year would be the return to my Plymouth project, the one that has been so rewarding, so consuming and yet riveting, the one that has me so excited to return yet so apprehensive at the same time. Just like the juxtapositions I love to capture so much. I wanted to share my feelings and thoughts on this return, and the tools I used to move on with my nerves and have a great outing capturing the wonderful Plymouth in all its urban glory.
So while I am here planning my first outing back to Plymouth since the latest pandemic lockdown, I reflect on the last time I was photographing my project; back in December 2020 and it’s now the following April. I feel apprehensive about returning and capturing those candid images of people. There is not just one reason for these emotions, perhaps my brain overthinking, but over the last year there has been so much change and uncertainty, everyone is bound to feel some nerves, even when it is returning to something you love.
Due to the nature of my images, it carries the risk of receiving negative interactions with the public, this has always been in the back of my mind, but the rewards of capturing this city and its local occupants outweigh this fear. I also always aim to be respectful in the images, but also in my nature, I aim to showcase the weird and the wonderful, something many people can appreciate.
There is also the concern that I will spend hours searching for something unique, different, special to capture, and yet there will be nothing that I want to capture.
However, my aim is to not overthink situations, to not only look for the perfect image, but to also be kind to myself and to capture what interests me, to trust my instincts and make the most of what is in front of me. I do also aim to react quickly to changing light and framing of the image itself to help me create something I am proud to share.
The first step to getting ready is to get my camera equipment charged and cleaned, as I do this I remember that I need a new lens cap as my rubber one split last year. I won’t go in to detail about this here as I’m sure I could talk enough about this to make a separate blog! So, as I look up from my desk I glance over to my photography book collection, this is something I like to do to reconnect and be inspired. In that moment I can feel the excitement for my own project and my candid street photography style. I look for books that are of a similar genre to my own; street with a theme or long term project in a single location. The reason for this is I can struggle to relate to some styles of street photography when the project seems more random. I particularly enjoy the bold and colourful work by Dougie Wallace. Something I notice is he chooses to focus on a specific area of London which enables me to focus on the characters and unique situations more.
For my first day back, I plan to capture the pub gardens that will have recently been reopened. I choose this due to the hype of the COVID measures being lifted allowing people to be with others and socialise, this is a momentum moment which I hope to capture. It will also be useful to me in my line of photography that this takes place outside, allowing me to remain in the public area. I also realise that I haven’t photographed pubs as part of this project so it could provide a new angle, one very fitting to the COVID journey.
My drive to create new work and be once again featured in photography magazines is another motivational factor for me. In order to do this I look at the local news and conduct some research on Plymouth in to any events, protests or markets that might be taking place. This helps me to know the location I am focussing on and what I can hope to capture that day.
Looking Back
I am looking back at my work in order to remind myself of the emotions I have felt before, during and after previous shoots, in particular the confidence I have experienced. This helps me to feel grounded, appreciate my previous achievements and to remember that I can take candid images of people that are visually pleasing and worthy of being printed as part of a bigger project and my vision.
It is useful to look through my previous work to also observe the progression and development I have made, work that has been featured in exhibitions in London and Italy, as well as work published in books and magazines. I aim to capture something different after returning from COVID lockdowns for magazine publishers in order to present them with a different feel to my work, including a bridge between architecture and street photography. As magazines focus on different genres of photography, this will allow me to be more versatile.
Looking at other photographers work
As I’ve mentioned, I have been looking up at my range of photography books, before going out to Plymouth I often get such books out that inspire me and help to visualise my own project.
I have been following Nick Turpin’s work for many years and is one of the first I found that inspired me, in addition to Dougie Wallace. More recently, Nick has been photographing London’s financial district and how COVID has affected the way society has changed and in many ways adapted through this pandemic. This helps to inspire me to document these times as he has shown it is possible to continue with a vision, it has also been fascinating to see a busy city at its quietest, providing a unique view and angle on London, in a way this has made other cities, such as Plymouth, more relatable to those larger scale locations, allowing the viewer to notice the architecture and subjects in a new and cleaner way (no COVID cleanliness pun intended).
Planning for the future of my project
I want my work to be known for its style, I want the viewer to look at my work and know that I have taken those images. I find that established and well known photographers within the street community have a unique style, in which viewers can identify quickly as the work of a certain photographer.
I also plan to make a new body of work to then approach magazines with. As I have had work published previously, I want to inject new life into my project, change up the style and gain a new motivation and passion for my long term vision.
Results and vibes from my first session
When driving to Plymouth I started to feel a rise in my anxiety levels about the visit, which was slightly unexpected as I thought I would feel more excited than anything, although of course there is a level of excitement at my fingertips.
First of all I walked to my usual spots with the independent stores, where I struggled to visualise what I wanted to capture. Later in the day I felt more comfortable and I started to see more potential subjects and interesting architecture, was this because I was feeling more at ease and started to notice more with the right amount of vision? It’s likely, and this is always something I learn from.
My aim of photographing the pub gardens did not work out due to the queues. However the streets were busy, the sun was shining and there was a positive atmosphere, this meant I didn’t get too much hassle. There was just one incident of an individual who was part of a protest who got slightly angry thinking I was from a local paper, once I had explained, he settled.
Overall, I feel great, if you are feeling anxious about returning then I would recommend doing your research, jumping back in and enjoy whatever images you are able to capture, being kind to yourself and keeping your long term goals in mind. The images below are a few from this session that might make it to my project.
One shot interview with Joseph-philippe Bevillard
One shot interview with Joseph-philippe Bevillard
I have choose the image of Charlotte with her family caravan in the background as one of my favourite and commercially successful as prints and media usages. To date, this particular image received over 40,000 likes on Instagram, thanks to the sharing by individuals as well as collective groups, curators, news agencies and magazine groups. Instagram is an excellent tool to help you decide which images go into book publications, exhibitions and websites.
What made you push the shutter button to capture this image?
I was photographing the surroundings looking for elements that are related to the travelling communities before I saw Charlotte walking to me and I immediately start clicking the camera. Her hair contrasted with the neglected brown couch behind her, the lighting from a very low late afternoon winter sun, her state of mind, her sad looking beady eyes, glowing rosy cheeks and the dramatic clouds adds mood to the image which makes it theatrical and poetic. Also the tape to repair the caravan’s window and the sooty black smokestack draws my attention.
Is this image part of a wider project, if so what is the project focus?
Yes, it’s part of my ongoing project with the Travellers. I’m documenting the culture and hardships of the people in the travelling communities. It’s my third year using digital camera but I have been using B&W films with medium format camera since 2009. I like using the digital camera since its much quicker to work with and to make prints for the subjects while the B&W films takes months because I have to send the rolls to be developed and then I have to rent a room to scan those negatives which takes months.
Why is this image special to you?
I have been photographing Charlotte for three years. There’s so much sadness and innocence in her. She is very photogenic and I hope to photograph her for the years to come to document her life growing up. The future of every Traveller after age of 12 are very bleak and unfortunate. Many left school after 13 and some committed suicides due to racism and bullying by the Irish society. 1 out of 10 Travellers died from suicide. Over 87 percent of Travellers are unemployed. My greatest worries are their future and I hope nothing bad happened to the people I admired and photographed.
Is there any photography books that inspired you to capture this image?
I’m a huge fan of photography books. When I was in school, I used to go to library and look at any photography and art books I could find. My brain is like an archive! My greatest inspirations are: Diane Arbus, Josef Koudelka, Richard Avedon, Mary Ellen Mark, Danny Lyon, Bruce Davidson, William Eggleston, Alex Webb, Sally Mann, Brassai, August Sander, Robert Frank, Garry Winogrand, Walker Evans, Dorothea Lange and William Klein.
What camera are you currently using?
Nikon D7500 with just one lens, 16-80mm and a Hasselblad 503cx with 50mm or 80mm
Please tell us about yourself
I was born in Boston and was in an orphanage for a month before I was adopted by a French parents. I started drawing and painting after I lost my hearing in both ears at the age of 3. I took up photography during my senior year at a private school in Massachusetts. In 1985, I enrolled at the Rochester Institute of Technology to study photography where I remained there for 2 years before changing direction in career due to financial circumstances, In 1990 I return to photography to study at the Art Institute of Boston. It was in 1990, I developed a style for square B&W portraitures of people I met in the nightclubs and on the street. After working for several major photo labs in Massachusetts in the last half of 1990, I moved to Ireland in May 2000 to start a property management business. In 2007, I went back to photograph portraits using the same camera and style as I did in the early 90’s. In 2010, I started a new project, photographing the Irish Travellers and four years later, I formed the Irish Travellers Photo Workshop. In June 2018, I started a new project on Irish Travellers using a digital camera and still shooting B&W film with Hasselblad. I currently reside on the border of Clare and Tipperary with my partner of 13 years.
Publications: Amnesty International, Der Spiegel, Vogue Italia, Square, Shots, Lenswork and Life Force.
Recent Awards: International Photography Awards, PX3 Paris, Photo Vogue Italia, and Lensculture.
Recent Exhibitions: Joseph Gallery, Paris, LesRecontres d’Arles, Espace Beaurepaire Paris, Leica Gallery Milan, Photo London, New Hampshire Institute of The Arts, Royal Hibernian Academy Dublin and Central Intelligence Agency in Washington, DC.
Links to your social media and website
www.instagram.com/jpbevillard_colour
www.instagram.com/bevillard_photography
www.facebook.com/bevillardphoto
One shot interview with Murray Ballard
One shot interview with Murray Ballard
What made you push the shutter button to capture this image?
I was in Moscow working on my long-term project about cryonics - the practice of preserving the dead until future technology can bring them back to life - and I walked passed this scene. It looked quite magical - the children playing football in the snow - not a normal sight for me, coming from the south-coast of England. I love snow pictures. And the way snow creates a blank canvas for your subject. Looking at the picture now, it also reminds me of a Lowry painting.
Is this image part of a wider project, if so what is the projects focus?
It wasn’t taken as part of a wider project, but it became part of a series called ‘One Week in Moscow’. I went to Russia with my then girlfriend (now my wife), we planned on spending a month there, but after a week we had a call from home in the middle of the night. Sadly her mother had been rushed to hospital following a cardiac arrest. We got home as soon as we could, but tragically she never regained consciousness. She had Type 1 diabetes, but nobody thought something like this was on the cards. It was an almighty shock. She was only 50. In an attempt to do something positive and cathartic, some months later we decided to publish a small photography book with our photographs from that week in Moscow to raise money for charity. It was simply called ‘One Week in Moscow’. To our surprise we managed to raise £5000 for Diabetes UK.
Why is this image special to you?
I guess it’s become special for the reason outlined in my previous answer.
Is there any photography books that inspired you to capture this image?
Not really, but at the time I took it I was working as an assistant to Mark Power who was working on ’The Sound of Two Songs’ then. He took a lot of snow pictures for that project and it probably made me see the potential for how beautiful the snow can be.
What camera are you currently using?
Mostly a Fujifilm GFX.
Please tell us about yourself
My name is Murray Ballard. I’m a photographer based in Brighton. I’m currently working on two long-term commissions for Grain Projects, about the rural community in Lincolnshire, and Photoworks, for the Royal Sussex County Hospital, about the South Downs landscape.
Links to your social media and website
http://www.murrayballard.com/
https://www.instagram.com/murrayballard/
https://twitter.com/murrayballard
One shot interview with Nick Hannes
One shot interview with Nick Hannes
Title: Hub Zero, Dubai, UAE, 2017.
What made you push the shutter button to capture this image?
The combination of the Arabs in traditional costume and the futuristic interior.
Is this image part of a wider project, if so what is the projects focus?
It’s a key photograph from my series ‘Garden of Delight’, a documentary on market-driven urbanization and the role of the entertainment industry in Dubai.
Why is this image special to you?
It is an immediately readable but surprising photograph, which goes beyond stereotypical imaging. Content, aesthetics, composition and timing coincide perfectly. It is a spatial photograph in which each person depicted is in the right place. It is also a theatrical image, which appears staged but is not. It's a good example of the esthetics that I'm after when I go out shooting.
Is there any photography books that inspired you to capture this image?
No. But in general I feel a certain kinship with Brueghel’s gaze and Jacques Tati’s humour.
What camera are you currently using?
Nikon D810 and Sony Alpha 7R III
Please tell us about yourself
I’m a Belgian photographer. I studied photography at the Royal Academy of Fine Arts in Ghent. After 8 years of working as a photojournalist, I decided to fully concentrate on self-initiated documentary projects. I focus on socio-political issues such as migration, urbanization and ecology, using humour, irony and visual metaphors. Books and exhibitions are the main output of my photographic work. Since 2008 I teach photography at the School of Arts in Ghent. I am represented by Panos Pictures in London.
Links to your social media and website
https://www.instagram.com/nick.hannes/
https://www.facebook.com/nickhannesphotography