Photo by Andrew Quilty

>> Link to the Oculi exhibition and book event

For more info about the exhibition, images, and questions to the members of Oculi, read on.

1. What is the concept of the exhibition and the book project? How did it come to birth?

Roo on Sofa. Dean Sewell/Oculi

Tamara Voninski: The upcoming book event “Home” is a creative venture between the Oculi collective of photographers in Australia and Blurb to create a framework using an exhibition where viewers choose the images to create their own selection and sequencing in a book. It is essentially up to the individual viewer to create a unique book in a remix of the photographs and interpretations of the theme “Home” in a museum catalogue.

The exhibition opening and book launch event is May 22nd at 6pm and will run until June 10th at the Cleland Bond in The Rocks (Ground Level, 33 Playfair St.) at the Reportage Festival hub. The seed of the idea idea came from a conversation between blurb and one of the Oculi photographers which grew into a group project.

2. How do you see different Oculi members interpret the theme of ‘home’?

Korea. Lee Grant/Oculi

Andrew Quilty: Editing this book was an interesting process. It was also an expedited one as the collaboration with Blurb came about less than two months from the proposed launch.

At first, many of us took the theme very literally. Some literally only contribute early edits that contained “actual” homes as we define them in the western world. With a bit of teasing out of the definition as well as with the help of seeing and comparing the work of others in the group however, the edits started to reflect a stretch in that definition and the images we were seeing became more loose and interpretative.

3. Can you describe the merits of photographers to work with Blurb?

Five year old Akantia Jones (far right corner with her hands on her chin) watches intently as Larissa Jones (Left) and Kade Cattermore prepare to blow out candles to celebrate their shared sixth birthday. Only five days prior Akantia’s father was murdered in the front yard of a neighbor. David Maurice Smith/Oculi.

David Maurice Smith: Having opportunities to expedite a creative process is always a good thing. To take images from the ether of a digital workflow to the bricks and mortar of print in a matter of weeks… that to me is the best part. There is nothing like the feeling of seeing your work printed in a book.

Beyond that, it is nice to have flexibility in the process: you can create one-off books for portfolios and/or personal projects, or you can print large numbers. And, of course, of upmost importance, the print quality is excellent, the images look strong.

4. How was the book ‘home’ edited and sequenced? How did the photographers collaborate on the project?

Housing Commission: Melbourne. Tamara Voninski/Oculi

Tamara Voninski: The entire project editing and discussion took place online, as members were either based or travelling in various parts of Australia or overseas. Each member interpreted the theme “Home” through their eyes and presented a selection to the group for discussion. Each person gave feedback for the final selection of 7-8 photos each.

The group commissioned a designer to sequence the work into a flowing visual book. Designing a beautiful book from eleven different interpretations and photographic styles is an incredible triumph.

5. How do you see the concept of ‘home’ changing in today’s day and age?

From the series “The Downtown East Side.” Claire Martin/Oculi

Andrew Quilty: I feel as though the idea of home is becoming more expansive and this would have to be credited almost entirely by the proliferation of the Internet. The world seems so much smaller now than it did even ten or fifteen years ago so whereas one’s concept of home then might have been confined to the walls that made up their house, now, I think we might consider it more broadly in terms of a town or even a country.

But mine is a very privileged point of view and says nothing for those in so many other places around the world whose concept of home is so far estranged from mine. How their ideas of home change, I could not begin to imagine but that ignorance signals that there is without doubt, need to explore such issues.

6. What is one of the favorite photos from the project and why?

Donna Bailey/Oculi

David Maurice Smith: I am a huge fan of Donna Bailey’s image of a mother and newborn taken seconds after the birth. It is an incredible moment… the first embrace. She nailed it.

7. Anything else you would like to mention that I haven’t asked?

Nick Moir/Oculi

David Maurice Smith: I think it is important to be move with the times and develop new, flexible approaches to book making and printing. While the desire to make iconic monographs at the high end of the market still exists and will always remain a goal, it has always presented difficulties. The ability to share your work in a meaningful, quality way has become a far more accessible and affordable option thanks to Blurb.

More photos from the Book

Event details:

Place: Reportage Festival Hub, Cleland Bond Building, The Rocks, Sydney (Google Map)
Date: Wednesday, May 22, 2013
Time: 6:00 PM to 9:00 PM

For all the info of the event, check out the event page: Oculi: A museum catalog made by you

Photograph by Rinzi Ruiz

(All photographs in this article provided by Rinzi Ruiz)

My good friend Nicholas Susatyo recently recommended a book to me: “Zen in the Art of Archery.” In-fact, it was the book that Henri Cartier-Bresson said had the deepest influence in his photography. I have been meaning to read it for a while, so on my flight to Philly I decided to give it a go.

The book is written by Eugen Herrigel, a German philosophy teacher who went to Japan for several years and learned the art of archery (while teaching philosophy at a Japanese university). He heard about the art of archery, and was fascinated with the zen philosophy which was embedded in the art.

Zen in the Art of Archery

As we all know, archery is no longer practiced in the “real world” in battles and such. When Herrigel wrote “Zen in the Art of Archery” in the 1940′s, it was a very closed art– only reserved to local Japanese who were serious enough about it. To teach a foreigner the art of zen and archery was considered heretical.

However with some good luck (a good introduction by a Japanese friend) and some persistence, Herrigel was able to go under the wing of one of the greatest archers in Japan. And with his experiences learning under him for 6 years, he wrote his brief book in “Zen in the Art of Archery.”

The book was an enjoyable read to me, because he explained the zen philosophies (which are often cryptic) in a way in which westerners could understand. Being Korean-American myself, it was the perfect balance of Eastern Philosophy with Western analysis.

After finishing the book, not only did I learn many insights which I plan on applying to my practical everyday life, but also to my street photography. Some of these philosophies may seem a bit cryptic, but I will share what I personally got out of reading the book. And of course, I am not an expert of zen–and one of the biggest difficulties is that there are so many branches of zen that all the practitioners have subtly different philosophies. Please feel free to share your thoughts and also corrections in the comments below.

1. Lose yourself in the moment

Rinzi Ruiz

One of the things I love most about street photography is this feeling that I lose all consciousness of myself when out shooting on the streets. I no longer think of myself consciously as an entity– rather, I feel like my body melts into the streets and I become physically and spiritually embedded into the environment that I explore.

I lose consciousness of walking, of breathing, and even of holding my camera. I let my eyes wander– being fascinated by the people living their everyday lives on the streets, and their interactions. Whenever I see something I want to capture– I don’t hesitate. I fluidly approach my subject, and the camera almost takes the photo by itself. Of course I generally follow-up with a smile and a brief hello, and either continue to talk with them, or continue on my way.

One of the philosophies of Zen is that you should lose self-consciousness of yourself, and especially of your own ego. You don’t think of yourself as being great and the center of the world. Rather, you see yourself as something quite insignificant and just like a grain of sand in a desert.

When I am out shooting on the streets, the feeling of getting lost in the “flow” makes me feel much more comfortable shooting in the streets (and is often when I take my best photos). The second I become self-conscious, I find myself drawing too much attention to myself and my subjects can sense my hesitation and feel less comfortable.

Suggestion:

When I start shooting on the streets, it takes me a while to “warm up” to get into the zone. Imagine yourself as a cold car in the winter. If you want your engine to perform optimally, you want to warm up your engine, let it run for a bit– and let the oil circulate the gears. The oil lodged into the hidden nooks and crannies also burn off, and become to loosen.

I think the same philosophy can be applied to street photography. When I first hit the streets, I am quite self-conscious and feel quite uncomfortable shooting in the streets. The first thing I try to do is start clicking, and I start to loosen up. I hear the click of my shutter, and it is a warm and inviting sound. I want to hear my shutter click some more, so I look for more interesting subjects to capture. I talk to strangers that I find interesting (often not even taking a photo of them– but just getting to feel more comfortable with people on the streets).

Once I get warmed up, I feel much more bold shooting in the streets– and self confident. I melt into the streets, and feel like I become part of the streets. But once again, I try not to think too much. I simply “go with the flow” and let the photography opportunities come to me.

2. Ignore recognition/fame

Rinzi Ruiz

One of the philosophies I learned from zen through the art of archery is that the master archers don’t care about showing off to their peers, or even hitting the target. They practice the art of archery to become introspective, letting go of their ego, and detach themselves from the world. Herrigel’s master summed up archery quite eloquently by calling it the “artless art.”

Being social beings, we crave recognition and affirmation from others. This certainly applies to every aspect of our lives. This includes affirmation from our families (reminders that they love us), affirmation from work (that we are doing a good job), and affirmation from friends (that we are admired and respected).

Certainly there is nothing wrong about being affirmed by others. However, it can be quite dangerous once we focus more on the affirmation of others rather than focusing on our own internal goals.

The archer is not focused on showing off– and neither should we as photographers. When we shoot on the streets, no need to show false bravado of taking photos of strangers super-close with a flash (to show to others how courageous we are).

I know that when I started street photography, I felt that I had this strange need to prove myself to others– and how courageous I was to others. However over time, I found out that this was a false path. I still shoot quite similarly as I did in the past in regards to shooting at a close proximity (from .7-1.2 meters) but my philosophy of why I do it is different. I don’t do it for the sake of it anymore, but to feel more emotionally connected to my subjects. I also find myself talking more and interacting more with my subjects, which I find to be more genuine.

I also think this can be applied to the world of social media. I used to be a whore to views, likes, favorites, and any sort of notification on social media. It made me feel good, special– and that I was a good photographer. After all, how would I know if my photo was “good” if I didn’t get at least 100 “likes” on a photo?

Once again, I also found this to be a false path. I soon found myself not taking photos for myself– but for others. I let their favorites and comments dictate what they thought was a good or interesting photo–rather than following what I felt was a good or interesting photo. My experience taking a year off of uploading images to social media certainly helped me focus more on my personal work, and I think has been the best thing I have ever done in regards to my photography.

Suggestion:

Know that when you are shooting on the streets, you have nothing to prove to others. You don’t have anything to prove to yourself. You shoot street photography because you enjoy it, that you find it a challenge, and that it satiates some sort of passion that you have deep inside of you.

Therefore don’t worry too much about how many “likes” or “favorites” you get on Facebook or Flickr. Rather, aim to please yourself. When you want feedback in terms of how you can improve your photography, ask colleagues that you trust or find a mentor who can give you stern and critical feedback (that isn’t just patting you on the back).

3. Don’t photograph others, photograph yourself

Rinzi Ruiz

One of the fascinating (and first a bit puzzling) concepts that the zen archery master told Herrigel the importance that in the art of archery, the archer doesn’t look to aim at the target– but rather he aims at himself. The master continues this analogy with some examples:

• The bow and arrow doesn’t shoot outwards, but inwards.
• The archer doesn’t bring the bow to highest tension, but the bow brings the archer to highest tension.
• You don’t hit the target, the target finds your arrow.

Even though I am Korean-American and heavily influenced by Eastern philosophies, I still find myself more of a westerner at heart. As a westerner, I like to think that I have control over everything– and that I am the actor and the agent that controls my own destiny. I don’t like the idea that things can be outside of my control.

In photography, I think we can use the analogy that we aren’t aiming to photograph others. But rather, we are trying to photograph ourselves.

I heard this many times by photographers– that when we photograph someone we are simply taking a self-portrait of ourselves.

For example, if we are shooting on the streets we tend to be drawn to whatever we find interesting (which says a lot about our own personality). I might walk down the street with you and even though we technically pass the same buildings and subjects– we both will probably take different photos. I might take a photo of a trash can with a little doll hanging out, you might take a photo of a happy couple. Perhaps this shows my personality of cynicism and loss of hope in the world, and perhaps the photo you took shows more of your own optimism.

I look at the work of Daido Moriyama which is dark and gritty– and I feel I am looking straight into his soul (in the past, he had lots of problems with drugs, alcoholism, and strained family relationships). When I look at the work of Martin Parr, I can see his cynicism with the world– and disdain of the negative aspects of capitalism and consumerism.

Suggestion:

At the end of the day, there is little to no objectivity in photography. It is all subjective. We decide what to photograph and what not to photograph. We decide what to include in the frame, and what not to include in the frame.

Embrace your subjectivity in photography, and try to shoot faithfully. Don’t photograph in a way which you feel doesn’t sit your personality. If you find yourself a shy and introspective person, you don’t need to shoot a stranger super-close with a flash. You might want to take a more detached approach, and not intrude on somebody.

If you find yourself more outgoing and gregarious, perhaps rather than just snapping photos of strangers and moving on– take some time to talk and engage with your subjects. Personally, I enjoy the conversation I have with strangers and finding more about their personal lives (than the photographs I take of them).

In the journey of photography, perhaps one of your aims is to discover yourself– and who you are. So don’t see photography as a yourself looking at others through a pair of binoculars, but as looking at yourself through a mirror.

4. Relax

Rinzi Ruiz

In life, we often try to force things which aren’t natural. We try to stick the square pegs in the circular holes, and often try to fit the circular pegs in the square holes. It often doesn’t work out.

In the western world, we live by the philosophy of bigger, better, stronger, faster. If we fail to meet a goal or expectation, we simply blame ourselves (or get blamed by others) that we simply weren’t “trying hard enough.”

In the art of archery, it flips this concept upside its own head. The key to become a master archer is not to become super strong to pull back the bow to launch your arrow as far as it can go. The key is to be relaxed, and let things take care of themselves.

In archery, when you are too tense and not smooth in practice– your arrow will wobble and not fly straight. Herrigel’s archery master explained the key of making an arrow fly with grace:

“Relaxed drawing of the bow, relaxed holding at the point of highest tension, relaxed loosening of the shot, relaxed cushioning of the recoil.”

I find that this concept of being relaxed is extremely important in street photography. I find when I am tense when shooting in the streets, people can sense my tenseness and feel less comfortable around me. Not only that, but when I am tense I tend to lose out on many photo opportunities– as I don’t let my eyes wander and find things serendipitously.

I think the same applies in life. When we try too hard and force things– they generally don’t work out. For those of you in a relationship, think about when you were trying to court your significant other. What was a more effective strategy? Showering the girl or guy you were interested with presents, compliments, and attention? Or simply being yourself, acting casually, and letting them be drawn to you? I find most relationships happen in the latter.

Suggestion:

Don’t be so tense when you are out shooting in the streets. Remember that street photography isn’t a game or a competition. You aren’t competing with others photographers on the internet to see who can get the most likes or favorites or followers. You are doing it for yourself, and nobody else.

A suggestion that I have is when you are shooting on the streets, don’t worry too much about your technical settings. I generally like to shoot in “P” mode whenever I can (I use it on my Contax T3 with autofocus) as it allows me to not worry so much about my settings– and focus more on the photography. I find that a lot of photographers shoot in manual mode when its not really necessary– simply for the sake of it and to show to others that they aren’t a “noob.” After all, only noobs shoot in auto modes, right?

Believe it or not, Steve McCurry shoots with his Nikon D800 with a pretty standard kit zoom lens and in “P” mode. He doesn’t waste his precious energy and effort into always fiddling with the settings. Rather, he uses his energy to connect with his subjects, consider his light, frame his shots, and take the photos. The less things we have to worry about, the more relaxed we will be.

Another suggestion: Don’t always feel that you need to take all your street photography candidly. If you feel a little insecure or nervous when shooting on the streets, start warming yourself up by talking to strangers and asking for permission to take their photo. Once you connect with someone else and perhaps share a few good laughs, you will find yourself much more relaxed when shooting in the streets– which I guarantee will help you make better photos.

5. Focus on the journey, not the destination

Rinzi Ruiz

When Eugen Herrigel was training to learn the art of archery, it took him 4-5 years of practice before he was was even permitted to aim at a target. That is like the equivalent of practicing taking photos of random things around the house before you were “permitted” to take photos of strangers in the street.

Understandably, after all those years of practicing with his bow and arrow (without even having something to aim at)– he got a bit frustrated and asked when he was able to advance to the next step.

His master responded by telling him not to worry about his progress or goal by saying: “…the way to the goal shall not be measured.” The master emphasized by telling him to focus on the journey, and not the destination– while also realizing how long it takes to reach mastery. He shared the proverb: “He who has a hundred miles to walk should reckon 90 miles is half.”

In the west, we are obsessed with goals, progress, and measuring everything. Once again, this goes with the idea that the west wants us to become more productive, stronger, faster, smarter, and better. How do we know if we are getting “better” if we can’t track things?

I believe in goals to a certain degree– in the sense that it is good to know what your priorities and passions are in life and heading that way. However the more specific you get in terms of goals, the more detrimental it becomes.

In personal fitness when I try to get stronger, I find myself less stressed and happier when I go to the gym for the hell of it– and for the fun. When I start getting too obsessed with tracking how much stronger I get, I feel more stressed out (when I can’t meet my goals) and enjoy the process less. Ironically enough when I don’t track my progress and simply “go with the flow” when I am in the gym– over time I find myself getting much stronger and healthier (than when I am obsessed with tracking everything).

I think we can apply the same concept to street photography. Many of us have goals to become renowned for our photography and hopefully one day sell prints, get exhibited all around the world, and become famous. I have personally had a few exhibitions internationally, have several thousands of followers on all of my social media channels, and have been recognized in the streets and I can share– it hasn’t really made me any happier in life.

I find that when we reach our destination, it is often less glamorous and amazing than we imagined it to be. Once again, I remember when I started photography I dreamed of all of these goals. However I reached all of these goals for myself, I found myself quite unhappy. Sure the initial jolt of reaching these expectations I set for myself was wonderful, but after a week or so, things went back to normal. I always convinced myself: once I met these goals, I would be happy for the rest of my life. I learned through my experience that this certainly wasn’t the case.

Now that I reached all my goals (and had no more goals for myself)– I got quite glum and wondered to myself: “Now what do I have to look forward to?” I suddenly felt lost, despondent, and confused what to do next.

After sulking around for a bit, I did what I knew best– I left my house and just started to take photos in the street. I instantly found solace, and a feeling of losing myself– and enjoying the process of shooting (and forgot about all my concerns, shortcomings, and feelings of hopelessness).

Suggestion:

Take your time with your photography. When you are out shooting in the streets, try to be as present as you can be. Don’t think about the photos you are taking, but think about the interactions you have with people on the streets, the beauty of the architecture around you, and the sounds and bustles of the environment. Don’t worry about how your photos turn out (to be good or bad)– rather, enjoy the feeling of your feet on the pavement and the joy of being able to do what you love.

Set goals for your photography, but make sure they don’t dictate your life. Feel free to bend the rules, to change your goals, or even get rid of them all-together. Enjoy yourself, let go of the stress, and have fun.

Conclusion

Rinzi Ruiz

I would say that street photography and zen certainly go hand-in-hand. Both are about cherishing the experiences, rather than worrying about the outcomes– and the importance of inner-reflection. In-fact, one of my good friends Rinzi Ruiz goes by “Street Zen” online– finding street photography to be a great way to meditate and self-reflect.

Don’t worry about becoming a famous photographer, or even taking great photos. Enjoy the experience of shooting on the streets– and don’t feel the need to force anything. Take things as they come, and go with the flow.

For anyone interested in learning more about Zen, I highly recommend reading Herrigel’s “Zen in the Art of Archery.” Another book I have read recently which is a nice companion (also a pretty short and quick read) is “The Tao of Pooh“– in which the author links Taoism (a similar philosophy to zen) to Winnie-the-Pooh (it sounds weird, but trust me– it is really good).

Zen in the Art of Archery

• Zen in the Art of Archery (Amazon)
• Zen in the Art of Archery (PDF)

What do you feel and experience when you are out shooting in the streets? Any other ways you can link zen and street photography? Share your thoughts below.

Cover photo by Todd Gross

I am very excited to share that Issue 4 of Radiate Magazine is available! If you love street photography I highly recommend getting a printed copy (nothing beats reading it on a Sunday morning with a warm cup of coffee). I just ordered my hard copy, and the printing and binding is superb.

In this issue there are photos by  Simon Becker, Thierry Clech, Artur Eranosian, John Goldsmith, Todd Gross, Andrew Quilty, Kay von Aspern, and Ania Vouloudi.

• Purchase a print copy from Magcloud or download a free PDF by clicking this link
• Read the magazine for free on Issuu by clicking this link
• See past editions of the magazine here

Read more to see pages from Issue 4 and other links!

Pages from Issue 4

Issue 4
April 2013
116 pages
Cover photograph: Todd Gross
No adverts

Price
Print: $24.20 + P&P
PDF: Free

• Purchase a print copy from Magcloud or download a free PDF by clicking this link
• Read the magazine for free on Issuu by clicking this link
• See past editions of the magazine here

Follow Radiate

• Website
• Tumblr

Eric’s Note: Federico Chiesa was born in a small town in Tuscany, Italy, in 1979. He studied commercial photography at “I.E.D” in 2005 and now works as a professional advertising photographer and retoucher. Street photography is one of his favorite vocations. See his “New York Diary” project and his thoughts on street photography below.

1. Can you share how you first got interested in street photography?

I guess I’ve always been interested in street photography. Ever since my childhood, I was amazed by dark rooms. Later in my twenties, I started to print my film myself. I wanted to be an illustrator, but I never learned how to draw. Therefore I thought photography was an easier way to express myself.

2. Who were some street photographers who first inspired you?

I met Francesco Zizola, a former Magnum member, during a workshop when I was 20 years old. This gave me a chance to work for sometime close to him which inspired me.

I also started to collect photography books. I’m interested in many kinds of photography. I don’t just focus on street photography. Even movies inspired inspire me to see in a different way.

At the end of the day, I am still inspired by the masters such as Cartier-Bresson, Koudelka, and Basilico.

3. When you started street photography, what were some initial difficulties you had?

I grew in a small town in the Italian country, without any chances to find creative jobs. My parents were concerned about my ideas of becoming a photographer at first. But after moving to Rome and studying commercial photography, I’ve been lucky enough to start working as soon as school ended.

Now my main occupation is working in advertising, but street photography is what I love to do. I remember that my love for photography makes every difficulty less hard to surpass.

4. When it comes to your street photography work in NYC, it shows a very dark and grim version of the city. How much of this is your own feelings about the city versus what you saw?

Reviewing all of my street pictures I see that my point of view is always a little sorrowful. While I love the city and I was really happy to be there, I was attracted by people who looked lonely and full of despair.

When I’m shooting, I’m looking for a certain feeling to come out. I try to spot people who are waiting or heavy thinking. My B&W is a little dark, I love this noir look. I prefer a “serious” kind of image.

I guess that all of this is my natural way of seeing things, it’s not something i impose me to do. I’m a melancholic person, and my pictures reflect that.

5. Can you share how you shoot on the streets and some insights on the technical settings you use?

For “NY Diary” I used a Leica M9 with a Voigtlander 25mm f/4 lens. I try to use f8 and above, setting my focus to 2meters. I try to use the fastest shutter speed possible.

I try to be unnoticed by people, sometimes I shoot without looking in the viewfinder because I started to learn how to frame with my mind (this is what I learnt from Francesco Zizola).

I’m a big boy, very tall and very heavy, so i need to act quick and don’t hesitate, because other people can “smell” your fear and become suspicious.

6. Can you share your three most memorable images and tell us why they are special to you?

This first image is my favorite one. It reflects my thinking about living in a big city. Many people walking their path, without any chance to collide. I love this because it’s like a portrait of myself too.

Love this one because I’ve been able for a second to really see this woman’s thoughts.

This make me think of “No Country for Old Men.” I always take photography of older people. I’m fascinated by their way to approach this fast paced world.

7. What are some projects you are currently working on, and what can people look forward to?

This year I’m moving to Toronto, and I can’t wait to start shooting there. I’ll be back in NY too, and hope to visit California during summer.

Meanwhile I’m working on many “advertising style” project. One of this, for example, is called “Reality Revisited.” I started compositing things i shoot compulsively to create “movie frames” I had in my mind. You can check that on my Behance page.

8. Who are your favorite contemporary street photographers you recommend people to check out?

I really dig the work of Trent Parke and Elliot Erwitt. I like the approach of Bruce Gilden, while i’ll be never able to shoot like him. As for photography in general, I love the works of Gregory Crewdson, Erwin Olaf and Eugenio Recuenco.

9. What is some advice you would give to  street photographers starting out?

Just take your camera everywhere . Try to focus on the things you like. Don’t be mad about having the best camera around, because you can take brilliant pictures just with an iPhone.

Follow Federico

• Website
• Behance
• Facebook

NYC, 1956. Copyright: Magnum Photos

W. Eugene Smith is one of the legends of photography. Although he was notorious for being maniacal, emotionally distant, and unreasonable– he channeled those energies into being one of the best photographers history has ever seen. I consider his approach to be very similar to that of Steve Jobs.

I hope that this article can help you get a better understanding of W. Eugene Smith, his work, and his philosophies of photography– to take your own work to new heights.

1. Have a purpose for photographing

Tomoko in Her Bath, Mother and daughter with Minamata Disease, Japan. Copyright: Magnum Photos

W. Eugene Smith was a humanitarian photographer. He documented countless wars, social issues, and even put his life on the line in doing so. He wasn’t interested in just making pretty photos– he wanted his photos to create an emotional resonance with his viewer, and to bring a certain story to life.

In a rare interview in 1956 with the great portraitist Philippe Halsmann they discuss the point of why W. Eugene Smith photographs the way that he does:

Halsmann: “When do you feel that the photographer is justified in risking his life to take a picture?”

Smith: “I can’t answer that. It depends on the purpose. Reason, belief and purpose are the only determining factors. The subject is not a fair measure.

I think the photographer should have some reason or purpose. I would hate to risk my life to take another bloody picture for the Daily News, but if it might change man’s mind against war, then I feel that it would be worth my life. But I would never advise anybody else to make this decision. It would have to be their own decision. For example, when I was on the carrier, I didn’t want to fly on Christmas Day because I didn’t want to color all the other Chistmases for my children.”

W. Eugene Smith was often at the front-lines of many conflicts and wars– when his life was literally on the line. But he wasn’t putting his life at risk for the sake of it. Rather, he had a clear purpose. He knew exactly what he wanted to capture because he had a reason and a purpose behind his photos.

Takeaway point:

Often times us as street photographers have a hard time figuring out why we photograph. However this is a very important question to ask ourselves, or else we are just wasting our time.

Are we out there trying to just take snapshots? Or are we trying to capture something deep and meaningful about society? Are we trying to discover ourselves through our photography? Are we trying to connect with a community or individuals to show their way of life with the rest of the world?

This is a question you can only answer yourself.

2. Be respectful

SPAIN. Village of Deleitosa in Western Spain. 1951.

Although W. Eugene Smith was notorious for being aggressive person and a recluse, he was at heart, a humanitarian photographer. He genuinely cared about his subjects, and wanted to photograph to show social injustices and bring light to facts through his photography.

There were many times in which he captured intimate moments. But how could he capture these moments without intruding and being respectful? For example, there was a case in which W. Eugene Smith used a flash to photograph a mourning family. Halsmann challenges Smith in their interview on why he used a flash and decided to “intrude” this emotional moment:

Halsmann: “I remember particularly your pictures of a Spanish wake [above], of people looking at the dead man’s face — how many exposures did you make?”

Smith: “Two, and one to turn on. I didn’t wish to intrude.“

Halsmann: “Piero Saporiti, the Time-Life correspondent in Spain, told me once that you had used petroleum lamps.”

Smith: “Saporiti has a marvelous memory, so imaginative! This was my version of available light. I used a single flash in the place of a candle.“

Halsmann. “Here were people in deep sorrow and you were putting flash bulbs in their eyes, disturbing their sorrow. What’s the justification of your intrusion?“

Smith: “I think I would not have been able to do this if I had not been ill the day before. I was ill with stomach cramps in a field and a man who was a stranger to me came up and offered me a drink of wine which I did not want, but which out of the courtesy of his kindness, I accepted. And the next day by coincidence, he came rushing to me and said, ‘Please, my father has just died, and we must bury him and will you take me to the place where they fill out the papers?’

And I went with him to the home and I was terribly involved with the sad and compassionate beauty of the wake and when I saw him come close to the door, I stepped forward and said, ‘Please sir, I don’t want to dishonor this time but may I photograph’” and he said, ‘I would be honored.‘”

W. Eugene Smith continues by sharing that potentially intrusive photos are only justified in having an important purpose:

“I don’t think a picture for the sake of a picture is justified — only when you consider the purpose. For example, I photographed a woman giving birth, for a story on a midwife. There are at least two gaps of great pictures in my pictures.”

Smith also brings up the point that being human is more important than being a photographer. In certain life-or-death situations, to help your subjects is more important than just making a photograph:

One is D-Day in the Philippines, of a woman who is struggling giving birth in a village that has just been destroyed by our shelling, and this woman giving birth against this building — my only thought at that time was to help her. If there had been someone else at least as competent to help as I was then, I would have photographed. But as I stood as an altering circumstance — no damn picture is worth it!“

Takeaway point:

As photographers, our purpose is to take photographs that have purpose. However at the same time– there are situations in which we are put into uncomfortable conditions in terms of ethics. When is it right or wrong to take a photograph?

If we can take a cue from Smith, it is that we need to once again– be very purposeful when taking a photograph. Are you just taking a photograph in the hope of getting lots of “favorites” or “likes” on Flickr or Facebook? Or are you trying to say something deeper about humanity through the photograph that you are capturing?

As street photographers, we also dance between the grey line of the ethics of photographing people. However remember at the end of the day, it is important to be a human being first, a photographer second. If there is someone who genuinely doesn’t want you to photograph them– I would respect that.

Also don’t just see your subjects as content. They are living, breathing, human beings. Connect with them, treat them with respect, and treat them like how you would like to be treated yourself.

3. On posing photos

A farmer unloads his donkey in front of his home. His wife throws out the dirty dishwater. Extremadura. SPAIN. 1951. Copyright: Magnum Photos

One fascinating interview question that Halsmann asked Smith is about the ethics of posing a photograph. During this time, the philosophy of Henri Cartier-Bresson was that it was “unethical” to pose any photograph (although some of HCB’s most famous photos in history were indeed, staged. You can just see the contact sheets of the transgender man in Spain).

Smith didn’t see it as a problem to pose a photograph, as long as it was to intensify the authenticity of a place or a scene. He elaborates below:

Halsmann: “I remember your picture of a Spanish woman throwing water into the street. Was this staged?”

Smith: “I would not have hesitated to ask her to throw the water. (I don’t object to staging if and only if I feel that it is an intensification of something that is absolutely authentic to the place.)”

Halsmann: “Cartier-Bresson never asks for this…. Why do you break this basic rule of candid photography?”

Smith: “I didn’t write the rules — why should I follow them? Since I put a great deal of time and research to know what I am about? I ask and arrange if I feel it is legitimate. The honesty lies in my — the photographer’s — ability to understand.”

Takeaway point:

Street photography is generally understood as being about candid photographs taken in public places. However there have also been very famous street photographs taken in history which were posed (and not exactly candid). For example, when William Klein took a photo of a kid with a gun he told the kid: “Look tough!” Another case was in which Diane Arbus took a photograph of kid with a grenade in a park. The kid was looking straight at the camera, with an awareness that he was being photographed (not exactly candid).

I think that street photography is often best when candid– but it doesn’t have to be. As long as you are trying to capture something authentic about the person, I feel it is fine. I think Smith would agree as well.

About 90% of the photos I take in the streets are candid, while 10% of them are posed. I generally take candid photos of people, and sometimes interact with them afterwards and ask to take a posed portrait of them. It is a great chance for me to interact with my subjects, and get to know them better.

There are other cases in which I want to be more respectful to my subject, and ask for their permission to photograph them. I generally have found that a more “genuine” expression shows through them when I ask them not to smile. It is a tip I learned from Charlie Kirk  and Martin Parr as people generally don’t smile when they are out and about on the streets.

Whether or not you prefer candid or posed images– just remember, try to gain understanding of your subject and follow your gut.

4. Have control over your images

Members of the Guardia Civil, the rural police force in charge of patroling the Spanish countryside. SPAIN, 1951. Copyright: Magnum Photos

W. Eugene Smith was obsessive when it came to printing his own work. He wouldn’t stop until he created what he believed was a “perfect” print. Why was he so obsessive when it came to this? He shares to Halsmann:

Halsmann: “Why do you print your own pictures?”

Smith: “The same reason a great writer doesn’t turn his draft over to a secretary… I will retouch.”

Takeaway point:

To some people, it is very important to have creative control over how a photograph looks in the end.

Of course now that the majority of us shoot digitally, we no longer print our images–but post-process them. For those of us who do shoot film, either we send it to a lab or process it ourselves.

I personally don’t think you have to always post-process or develop your own film. For example, Henri Cartier-Bresson knew how to (but wasn’t very interested) in developing and processing his own film. He would also get his work printed by a master printer the he trusted. He was more interested in photography.

Personally I don’t really process my own work either. For my color work, I send it to Costco and get them to scan it for me (a great deal at $5.00 USD). For black and white work, of course I develop it myself (sending it to a lab is too expensive) but I prefer to have someone else do it if I can. I am more interested in photographing.

However I think what we should focus on is consistency in terms of the output of our images. For example, if you shoot digital– use the same preset or try to simulate the same “look” in your photos every time. If you work in black and white, don’t have some photos that have low contrast, high contrast, and others sepia. Keep it consistent.

The same goes with color– don’t make some of your images desaturated, some of your images high-saturation, or add limo effects to only some of your photos. Keep your ‘look’ consistent.

With you film shooters, I recommend sticking with one type of film and processing method for a long time. I think it is fun to try out new types of films, but in the end– try to stick to one (once you find one you like). Personally I prefer Kodak Portra 400 (the new one) for color, and Kodak Tri-x for black and white (you can’t go wrong). And for your developing methods, try to use the same chemicals and processing times.

5. Take your time

USA. Pennsylvania. City of Pittsburgh. Steelworker. 1955. Copyright: Magnum Photos

W. Eugene Smith literally put his life into his work– and it killed him (literally). He often took lots of drugs to keep him constantly producing work and printing his photos– and did it for his entire life (until he passed away tragically at an early age).

One of the projects that he spent a lot of time and energy was his Pittsburgh project. What was supposed to be a three week project turned out to ~17,000 pictures (~472 rolls of film), in his “Dream Street Pittsburgh Project.”

To the disdain of his editors, he kept working on the project– and refused to stop until he felt that it was complete or finished. Smith explains the importance of time in terms of the project (and life):

Halsmann: “How much did your Pittsburgh Opus cost in time?”

Smith: “It cost the lining of my stomach, and much more beside. … While working on it I resigned (from a certain unnamed picture magazine).”

[At this point in the transcript, the Q. and A. format is broken, though it goes on: "After questioning back and forth, Philippe pinned him down to this: Smith had explained that he had worked on the opus for a period of several years, which included three months that he was on staff, which he considered 'stolen.'"

Smith expands on why his project took so long, and why he needed so many images to complete his vision:

Smith: "There’s no way to evaluate it,” Smith said. “If I was able to print exclusively, it still would take at least a year. I now have 200 prints from 2,000 negatives….”]

Halsmann: “What would anybody in the world do with 200 prints?”

Smith: “Each print I have made represents a chapter — the 200 represent a synthesis.“

Halsmann: “You won’t put any time limit on this work?”

Smith: “It was also sidetracked for a period of time for doing an almost equally difficult color project — one of my worst failures, which I consider a going to school.”

Takeaway point:

17,000 pictures or roughly 472 rolls of film is a prodigious amount of photos (even by digital standards). However Smith wasn’t just photographing like crazy just for the sake of it. He had a certain vision of Pittsburgh he wanted to convey– which took him a long time (and through a lot of photographs).

Smith suffered lots of doubts and setbacks in his Pittsburgh project, but he continued to persevere and take his time. He had all these editors and outsiders clawing his back to rush his project (after all the project was initially supposed to only take three weeks) but Smith took the unreasonable route and continue his project.

We often rush our own work. We don’t let our photos sit and marinate long enough, and we often don’t spend enough time editing our shots. Therefore this leads us to uploading too much work on the internet, some which are good– but others which are only “so-so.”

I think especially in today’s digital age: less is more. To show less work is to show more discipline of yourself as a photographer. Not only that, but the work that you put out will obviously be stronger as well.

So don’t feel the need to rush things– take your time with your work. The best projects take years, or even decades to finish. Take your time, and you will be rewarded.

6. Don’t worry about the finances

Steelworker, Pittsburg, 1955. Copyright: Magnum Photos

When Smith was working on his Pittsburgh project, he faced many financial setbacks. He wasn’t making money at the time, he was borrowing money from his family, and constantly short on funds (he could barely afford film and paper to print on). However he didn’t let this set him back. Halsmann inquires about the issue of finances:

Halsmann: “How can this be financed? Is there any way, here in America today, to pay a man back for this work?”

Smith: “How long did it take Joyce to do “Ulysses”? I could never be rested within myself without doing this.“

Halsmann: “But what if the photographer does not have the financial means?”

Smith: “I will advise them not to do it, and I will hope they do.“

Halsmann: “What if nobody sees it? Besides a few friends?”

Smith: “Answer this and you will see how artists have acted throughout the bloody ages. The goal is the work itself.”

Takeaway point:

This is quite possibly one of my favorite excerpts from Smith. He was a man who didn’t get a damn about the issues of finances, fame, or reputation. He was only interested in making great work– it was an end into itself. He didn’t even care if nobody ever saw the photos, he had a deep drive in himself to create this work.

We are all social beings–and we crave for attention and admiration from our peers and family. It is natural. However at the same time, this can be a slippery slope. Rather than doing work for the sake of it, we do it to please others.

When it comes to street photography, we can also get suckered into getting praise for our photos (rather than making great photos). How many “likes” or “favorites” is enough?

We should shoot in the streets as an end in itself. Meaning, we do it for the sake of it– to improve our own work for our own love, rather than trying to impress others.

An easy antidote to focus on your own work: take a hiatus from sharing your work on social media for a year. Trust me, it seems like a long time– but it passes pretty quickly and it will probably help your photography incredibly. I know it did for me.

About a year ago from the advice of Charlie Kirk I decided not to upload any of my new work for a year. Sure it was incredibly difficult (I have always been a sucker for getting lots of views, likes, and favorites) but it helped me focus on my own photography. It made me focus less on the admiration of others, and more on myself– to create great images for myself.

Nowadays I’m sharing more of my images that I have shot from 6 months-year ago, but I still try not to share too much of my work. I find once I get into the habit of regularly uploading work, once again– it causes me to get hooked on external recognition and validation, rather than my own validation (and that of close friends and colleagues).

7. Tell a story

UNITED STATES. Colorado. Kremmling. 1948.
Dr Robert CERIANI making his way to visit his patients by foot in their remote villages. Copyright: Magnum Photos

One thing that I always admired from W. Eugene Smith was his ability to make incredible “picture stories.” Some of his works come to mind like the Japan Minamata Bay series in which he photographed the after-effects of toxic merry poured into the river (and the effects on its civilians). My other favorite project of his was his “Country Doctor” series in which he spent 23 days following a doctor in Colorado, documenting his day-to-day challenges and interactions with his patients.

W. Eugene Smith had a burning curiosity to “go deep” with his projects. He didn’t just take a few pretty photos and take off. Rather, he embedded himself into the lives of his subjects and got to know them inside and out. This helped him create intimate portraits and images which really told stories. The way that he also edited and sequenced his photographs also added to the “picture story” which was famous with LIFE magazine in the 50′s.

Takeaway point:

Nowadays with social media, I would say that working on projects or a “picture story” is a lost art. The majority of street photographers focus on single, memorable images (rather than larger projects which have more of a story and depth behind it).

Don’t get me wrong, I love memorable single images. However I think that at the end of the day, they pale in comparison to projects which have more depth and soul and get to know people on a deeper level.

Therefore I recommend you rather than just focusing on single images, to work on longer-term projects. You can start working on your own street photography project with this article: “How to Start Your Own Street Photography Project.”

Conclusion

W. Eugene Smith looking outside of his window in Pittsburgh, 1957.

W. Eugene Smith was one of the great photographers of history who didn’t take bullshit from anyone else– and follow his own gut and soul when it came to his own work. Although he wasn’t the friendliest guy and a bit neurotic at times, he had deep compassion for his subjects and a burning sense of curiosity which helped him connect on a deep level with those he photographed.

I think as street photographers, we can learn much from his philosophies (and his stunning images).

Don’t worry so much about fame, recognition, or money when it comes to photography. Let’s follow in Smiths’ footsteps and do the work as an ends to itself– to uncover something about society and for ourselves.

Quotes by W. Eugene Smith

Portrait of W. Eugene Smith

Below are some of my favorite quotes by W. Eugene Smith:

• “The world just does not fit conveniently into the format of a 35mm camera.”
• “Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance. Always, I am on the threshold.”
• “Passion is in all great searches and is necessary to all creative endeavors.”
• “I’ve never made any picture, good or bad, without paying for it in emotional turmoil.”
• “I wanted my pictures to carry some message against the greed, the stupidity and the intolerances that cause these wars.”
• “…and each time I pressed the shutter release it was a shouted condemnation hurled with the hope that the picture might survive through the years, with the hope that they might echo through the minds of men in the future – causing them caution and remembrance and realization.”
• “Whats the use of having a great depth of field if there is not an adequate depth of feeling?”

Further Reading

USA. Pennsylvania. City of Pittsburgh. 1955.
Skyline view at night, with the Delaware River. Copyright: Magnum Photos

• W. Eugene Smiths’ Magnum Portfolio
• Essay: W. EUGENE SMITH: “W. Eugene Smith’s Pittsburgh Photographs” (2001)
• Interview: W. Eugene Smith: ‘I Didn’t Write the Rules, Why Should I Follow Them?’(What I quoted for in this article)

W. Eugene Smith Documentary

Below is a superb documentary done on W. Eugene Smith. Highly recommend everyone to watch this, to get a better understanding of his character and passion:

W. Eugene Smith: Photography Made Difficult (1/9)

W. Eugene Smith: Photography Made Difficult (2/9)

W. Eugene Smith: Photography Made Difficult (3/9)

W. Eugene Smith: Photography Made Difficult (4/9)

W. Eugene Smith: Photography Made Difficult (5a/9)

W. Eugene Smith: Photography Made Difficult (5b/9)

W. Eugene Smith: Photography Made Difficult (6/9)

W. Eugene Smith: Photography Made Difficult (7/9)

W. Eugene Smith: Photography Made Difficult (8/9)

W. Eugene Smith: Photography Made Difficult (9/9)

Photos by W. Eugene Smith

Below are some of my favorite photos by W. Eugene Smith (which weren’t included above):

Books by W. Eugene Smith

W. Eugene Smith (2011)

If you can just have one book on W. Eugene Smith, this is the book to get. A superb collection of his life’s work.

Dream Street: W. Eugene Smith’s Pittsburgh Project

The photos from his notorious Pittsburgh Project. Probably his most memorable body of work (that he put the most life into).

(Above video: I chat a bit about my ideas for my American Street Photography Roadtrip)

One of my favorite photography projects of all-time is “The Americans” by Robert Frank. I have always had a dream of working on a similar project–to take my car and travel across America–documenting the people and places that I encounter.

I am excited to share that this dream has come true (or at least the means). Ford contacted me about a few months ago letting me know about their new “Fiesta Movement” campaign in which 100 “agents” are given a new pre-production 2014 Ford Fiesta with 8 months of gas and insurance covered. The catch? We are given fun video assignments once a month to complete (that somehow have to incorporate the Fiesta).

Needless to say, I jumped at the opportunity as I saw it to be a great opportunity for me to work on my version of “The Americans.”

Meeting my 2014 Ford Fiesta for the first time!

About two weeks ago, I flew out to Philly to do my training with the 2014 Fiesta (which involved some fun laps in a parking lot with cones, Top Gear style). I met a lot of talented other “online personalities” many of whom are very popular on YouTube. It was very inspirational to meet all of these other guys who produced incredible videos–which has given me a lot of inspiration to start doing more videos myself.

Hope to make lots more cool videos with the new GoPro Hero 3

Ford also hooked it up with a GoPro Hero 3, which I plan on using to do more video features/interviews/street photography videos with. I know sound quality has been a major complaint in the past, and after talking to my buddy Tyler Bedgood he gave me some great recommendations for Lavalier microphones. They are great for interviews and superb in blocking out ambient noise. I just ordered one, so I plan on using that more.

Photo of my fiesta in Cleveland. Unfortunately battery died when going through Cleveland with the GoPro. Note the GoPro mount on top of the car

On my mini road-trip from Philly to Michigan, I also strapped my GoPro to the top of my Fiesta and took a fun time-lapse. Hope you enjoy, you can watch the video below:

For my America Street Photography Road Trip Project, I hope on also doing a series of interviews with interesting people I meet along the way. I’m not exactly sure how I plan on editing and putting this all together in the end–but I will try to go with the flow.

Bedford, Pennsylvania, 2013. Shot on Instagram and Samsung Galaxy S3

One fun thing I have also been doing during my travels is shooting more with my Samsung Galaxy S3 and with Instagram. I have been using this as a bit of a “visual diary” of my travels and to just keep y’all updated with where I am. As with the majority of the shots of my project, I’m planning on shooting it with my Leica MP and Contax T3 with Kodak Portra 400 film.

My new co-pilot with my Contax T3

Some more exciting news: my manager and boss Neil Ta was able to correspond with Ricoh, and I am getting one of the first digital Ricoh GRD V’s in the states. I am generally not interested in gear, but I am actually quite excited for the Ricoh GRD V for the street photography community. After all, it is an affordable, ASPC-sized sensor, 28mm compact camera that can slip in your pocket. You can read some of my thoughts about the camera here.

Since many of you have been asking for more POV street photography videos of me in action and interacting with other people–this will make shooting and editing these videos much easier. I have tried making a few POV street photography videos with my GoPro with film, but honestly it is a pain in the ass to edit in the shots. So hopefully the videos I end up making will personally help you.

The new Ricoh GRD V. Plan on also doing a review of the camera in the near future.

For the next 8 months, I plan on doing a series of road trips across America. The first big one will be in about two months, when my girlfriend Cindy and I are moving from Michigan to Berkeley. She just got admitted into UC Berkeley’s History Ph.D. program for her research in Vietnamese History, so I am excited to start collaborating with more street photographers in the Bay Area (my home)!

You can keep updated with my travels at my Fiesta Movement page here.

I would love to hear your feedback: where are some places in America that you think I must visit for this project? Please leave a comment below and give me some of your thoughts and ideas!

Eric’s Note: I am excited to share this interview with Harvey Stein, a prolific street photographer from NYC. He has been shooting the streets for nearly half a century, and has recently published his book: “Coney Island 40 Years” which is one of my new favorite street photography books. Check out some of his work and thoughts on photography in the interview below.

1. Harvey, it is a pleasure to have you. You have been shooting street photography in New York for many decades now. Can you share how you first picked up a camera and how you “discovered” street photography?

Photo Booth, Coney Island 1978. © Harvey Stein

It’s a pleasure to be interviewed by you. I first picked up a camera when I was 22 years old while serving as a lieutenant in the American army stationed in Germany. The army had a darkroom on the base, and I thought it would be cool to get a German camera—it was a Zeiss Icon with a 50mm lens—and it wasn’t expensive then.

I had lots of free time and I taught myself how to operate the camera and how to develop film. I would shoot some of my troops during exercises, and walk around the small town I was stationed in and shoot the architecture and inhabitants. I was always interested in art making, even though I studied engineering in college.

My school, Carnegie Mellon University, was renowned for engineering and science, but they also have terrific drama and painting departments and I knew lots of these folks when an undergraduate. I tried to paint, write, do ceramics, but wasn’t very good at them.

Once I picked up the camera, I realized almost immediately I could do it well, I liked doing it, and maybe someday I thought I’d do it full time. And of course, that has happened.

I moved to New York to go to Columbia University Grad School of Business and discovered the variety, excitement, and strangeness of New York street life. I was hooked and photographed all the time, even while going to graduate school.

2. What are some of the changes you have seen in New York over the years?

Coney Island, 2004 © Harvey Stein

The biggest change is that New York has gotten less edgy, its street life is muted, safe, not very chaotic. I have just returned from traveling for three weeks in India and photographing almost all day and some nights. Now that is crazy and vivid and exhilarating country.

New York is very mild in comparison, safe and unexciting. Which of course makes it harder to get interesting images, but maybe there is a greater challenge now then when I began to shoot in the streets, now it’s harder to make more edgy and meaningful images. Which isn’t necessarily a bad thing.

3. You have published two books on Coney Island, one in color and the other in black and white. Can you share the differences of meaning that color and black and white adds to Coney Island?

Happy New Year Man, Coney Island, 2010 © Harvey Stein

I prefer b/w photography to color, I think we can get lost in the color; that color often obscures content. I believe black/white is more personal and abstract, color more pictorial. That said, Coney Island is quite colorful and over the years I photographed there in both color and black/white.

I showed both versions of the Coney Island work to an editor at W.W.Norton, and he wanted to do the book in color; I liked the idea since my color photography wasn’t/isn’t as well known as my black/white imagery.

I prefer my black/white work more than the color at Coney, but I’d probably say that about any project photographed in both.

4. Your recent black and white book, Coney Island 40 Years, was shot over a 40 year time frame. How do you stay motivated to work on a project for that long, and what advice would you give to other street photographers trying to find and stick with a project?

Happy Mermaid, Coney Island, 2010 © Harvey Stein

The years seem to fly by. In 2006, I realized that I’d been photographing at Coney Island for 36 years, since 1970. I thought how cool it would be to shoot there for another four years and do another book, covering 40 years. So since then I had that as an objective, and it happened.

The book, Coney Island 40 Years, is from 1970-2010, and was published in the spring of 2011. I’m still shooting there, have many more wonderful images, and now have as a goal a third book, Coney Island 50 Years, to be published in 2021. We shall see.
The place and the people motivate me, it’s endlessly fascinating, ever changing, with interesting, crazy characters who populate the boardwalk, beach, amusements.

I advise photographers to find a personal project that they can relate to and keep working it to make it richer, fuller, more well rounded and complete because they photograph constantly over a long period of time. Keep going back to the same places, houses, territory, whether physical or psychic. You will be rewarded.

5. I find it fascinating that for most of the photos in the book you utilized a 21mm lens. I know very few street photographers who utilize that focal length, as it is extremely wide and difficult to handle. Even Winogrand had a tough time mastering it. Can you share why you decided to use that focal length as your lens of choice.

Harlem, 1990, © Harvey Stein

My first and most influential teacher, Ben Fernandez, a terrific street photographer, said to get a Leica, use a 21mm lens, and shoot at Coney Island. Being the good student that I was, I complied, and have used the 21mm ever since. My long lens is a 35mm lens; I never use a longer lens on the street. I want to get close to my subject, yet put them in a context with their surroundings.

The 21mm lens allows me to accomplish this. I think this lens helps to tell their story better then hanging back and shooting from a distance with a long lens. For me, getting close makes for a more powerful and impactful photograph, I always try to get as close to my subject as possible, usually talking to them and being involved with them, even if only for seconds.

Perhaps the fact that the subject knows that I am there validates my reason for being there.

6. Describe how you shoot on the streets. What types of subjects interest you, how do you interact with them, and generally how many shots do you try to take of a single subject?

Sienna, Italy, 1998. © Harvey Stein

As I said above, I try to get close to my subjects. I like talking to them, getting involved with them. I get into difficulty on the street when I try to shoot candidly, i.e., “sneak” photographs.

That’s when subjects often get pissed if they see you. I want to give them the dignity to say no, and I usually don’t shoot if they say no. I feel better working this way then shooting candidly, and I think my images are better when I ask or at least when there is an acknowledgement that I am there and they are being photographed.

I am interested in photographing people and their behavior in public places. I want to see and show how people interact and intersect in public, how we all get along or not, and how public behavior reflects the culture’s trends, patterns, values and mores. I’ve shot all over the world, and there are definitely differences in street behavior. I like noting these patterns and differences.

I often shoot 8-10-12 frames of someone if I like the situation, whether film or digitally. I’ve done rolls of film of an event if vibrant enough.

7. How do you see street photography as a genre changing and evolving. Also where would you like to see street photography in 5-10 years from now?

Siena Italy 1996 © Harvey Stein

I think I shoot rather traditionally, I don’t set up situations, which has been in vogue now for quite awhile (Gregory Crewdson, Philip Lorca de Corsica).

I don’t think I’ve changed over the years, and I don’t really think street photography has changed much. It’s still about the unpredictability of behavior of everyday people in public places, often very humorous, moving, energetic, exciting, sad, silly and vital.

I do like to pose people, to direct them a bit, move them from here to there (2-3 steps), I call my style collaborative/confrontational, as opposed to candid. I want people to be serious and to look into the camera.

I think street photography has evolved to this; until the 1970’s or so, street photography was mostly candid, now, I don’t think it is. Now it’s more personal, it’s about how we see and feel, it’s not about the pursuit of truth and beauty any longer. I see street photography moving in this direction even more in the future.

8. One of the most difficult things that street photographers face is editing and sequencing their work- especially when preparing for a publication, exhibition, or a book. How do you edit your work and what is the logic behind your sequencing. Perhaps you can use examples from your Coney Island 40 Years book?

I agree, it’s very difficult for photographers to edit and sequence well. I think I’ve always been good at doing both of these. I like to edit as soon as I shoot, then relook at the contact sheets or digital images over a period of time, often leaving it alone for a month or so to come back to the work with fresh eyes.

I like to make prints and lay them out on a table or the floor and move them around. I look for connections between/among images, whether similarities in mood or visually.

For instance, on pages 180-181 of the Coney Island book, on the left hand page is a photo of a worker standing outside the freak show turned toward another worker on the right hand page. Both have the Coney Island “logo” from the 1910’s, a neon sign called Happy Face, in the background. Both have circular elements, both have strongly posed individuals with a dark, uncluttered immersive background. For me the two photographs go together very well and should be sequenced together.

There are 214 photographs on 240 pages Coney Island 40 Years, that’s a lot. I broke the sequence into six sections or chapters (boardwalk, pier, mermaid parade, amusements, workers, beach). This helps, now I have 6 smaller sections to deal with. This also helps to make the subject more palatable for the viewer.

9. Can you discuss your new book, Harlem Street Portraits? When is it being published, how long have you worked on it, what are its themes?

Harlem, 1991. © Harvey Stein

My new book should be out in the fall of 2013, and is being published by Schiffer Publishing, the same company that brought out my recent Coney Island book. There will be about 165 black/white images on 192 pages, and includes a few short essays about the history of photography in Harlem and the nature of street photography.

I think it’s some of my strongest work. Photographs in the book span the 22-year period between 1990 and 2012. The images simultaneously look back in time while giving a current view to the people, streets and architecture of the area. This allows the viewer to notice changes in style, fashions and sense of place over many years.

I’ve tried to make the photographs close, personal and yet environmental, they mostly document the collaboration between me and the subject while showing the connection between us, if only momentarily. I’m quite excited about the book.

10. What are some projects you are currently working on now?

Atotonilco, Mexico 1997 © Harvey Stein

I have at least four book projects finished, one about Mexico (I’ve shot there for about 12 years), one about New York City street life, one on children/childhood, one on photographer photographing.

I’ve been traveling to South America for the last five years photographing (Peru, Ecuador, Argentina) and have lots of photographs that look good, I have to work on the prints and start editing and sequencing in earnest, if only I can find the time.

11. How do you want your photography to be remembered and what do you want people to feel when looking at your books or images?

This is a tough question, I don’t really think about how I want to be remembered or how people feel when looking at my work. I care that I like my work, if others do also, great. If not, there’s not much I can do about it.

One of my guiding principles has always been to photograph for myself, to please me, and not to play to the market. I want my work to be honest, real, genuine. If others appreciate it, great, that’s a nice bonus. The work rewards me, not the market place or other people’s opinions.

12. If you could step into a time machine and transport yourself again to when you started photography, what advice would you give yourself.

Atotonilco, Mexico 1997 © Harvey Stein

It would be the advice that I did give myself, which is to work very hard, be totally involved with and passionate about photography, and not to worry about selling, and photograph from a personal perspective; photograph what I want to learn more about and what absorbs me.

13. Who are some contemporary street photographers you recommend people to check out?

I don’t have recommendations. My favorite street photographer is Garry Winogrand, and I love Diane Arbus’ work. August Sander is my all time favorite photographer, although he’s not thought of as a street photographer.

Biography

HARVEY STEIN is a professional photographer, teacher, lecturer, author and curator based in New York City. He currently teaches at the International Center of Photography. Stein is a frequent lecturer on photography both in the United States and abroad. He is the Director of Photography at Umbrella Arts Gallery, located in the East Village of Manhattan. He has also been a member of the faculty of the School of Visual Arts, New School University, Drew University, Rochester Institute of Technology and the University of Bridgeport. A recipient of a Creative Arts Public Service (CAPS) fellowship and numerous artist in residency grants, Stein’s latest book, his fifth, Coney Island 40 Years, was published in June of 2011 (Schiffer Publishing, Ltd).

Stein’s photographs have been widely exhibited in the United States and Europe—75 one-person and over 150 group shows to date. He has also curated 24 exhibits since 2007. His photographs are in more than 55 permanent collections, including the George Eastman House, Bibliotheque Nationale, the Art Institute of Chicago, the Museum of Fine Arts, Houston, the Brooklyn Museum of Art, the New Orleans Museum of Art, the International Center of Photography, etc. Stein’s photographs and portfolios have been published in such periodicals as The New Yorker, Time, Life, Esquire, American Heritage, Smithsonian, etc and all the major photography magazines.

His work is represented by the Bruce Silverstein Gallery, Throckmorton Fine Art and June Bateman Fine Art, New York City. Stein’s work can be seen on his web site, http://www.harveysteinphoto.com

Books

• Parallels: A Look at Twins, E.P. Dutton (1978)
• Artists Observed, Harry Abrams, Inc. (1986)
• Coney Island, W.W. Norton, Inc. (1998)
• Movimento: Glimpses of Italian Street Life, Gangemi Editore, Rome (2006)
• Coney Island 40 Years, Schiffer Publishing , Ltd. (2011)
• Harlem Street Portraits (scheduled), Schiffer Publishing, Ltd., (2013)

Links

• Website
• Coney Island 40 Years Book
• Interview: Coney Island 40 Years on Lenscratch

Brilliant photo by Josef Koudelka, showing how minimalism can be more in making a powerful image. NORTHERN IRELAND. 1978. © Josef Koudelka / Magnum Photos

In today’s age, we are always obsessed with the concept of “more“. We falsely believe that we need more stuff, more money, more more cameras, more lenses, more megapixels—more, more, more.

In one of my favorite books “Antifragile” (I mention this book in a prior post on the “barbell theory”), the author Nassim Taleb advocates that the secret of health, wisdom, and happiness can be obtained through less, not more. Taleb calls this approach “via negativa” that we should focus on subtraction, not addition in life.

For example, nobody really knows what makes us happy. However, we know what makes us unhappy and miserable. Therefore the key to happiness may not so much be the “pursuit of happiness”– but the “avoidance of unhappiness.” I think the same applies to happiness in street photography — focusing on less, not more.

The secret to happiness in life

Studies have actually shown that decreasing your commute times is one of the largest factors in making you happier in life

We can easily state what we hate: Long commutes stuck in traffic, strained family relationships, excess weight gain, feeling rushed, not being able to sleep well at night, doing work we don’t want to do, handling too many emails during day, taking work home, or having an overly demanding boss at work.

So what is the secret to happiness?

By applying the “via negativa” approach of removing elements of happiness from your life, you will discover (by proxy) happiness. Therefore rather than the “pursuit of happiness”–perhaps we should embrace the concept of the “avoidance of unhappiness.”

Why we want more stuff

I have a love/hate relationship with advertising. On one hand, I think it can be quite eloquent how advertising firms can put together creative stories and create epic visual designs. However at the end of the day, advertising causes us to buy stuff we don’t need– and creates “artificial needs.” This often makes us feel inadequate when we can’t afford things (that we falsely believe will bring us more happiness in life).

The suave guy driving his top-down BMW M3 laughs at you while you drive your Honda Civic. The smiling family who just bought a new million-dollar house on a billboard are laughing that you are living in your modest two-bedroom condo. The woman shooting with the newest hot camera winks at you and giggles that you are shooting with an entry-level DSLR. We keep seeing these advertisements, and we crave for more.

I know I am particularly a sucker for advertising, so I don’t watch any TV (think about how many ads you watch in a single 20-minute program), try to limit my trips to the mall (I like to order things I need online), and magazines/media (someone is always trying to sell you something). So perhaps another way to prevent yourself from creating artificial needs in terms of wanting the newest cameras, lenses, and gear you should limit your intake of gear review forums, blogs, magazines, videos, etc.

So instead of striving to add more into our lives, sometimes subtracting things from our life can make us happier and more productive. This certainly applies to street photography. Here are some ways in which having less can be more in street photography:

1. Less stuff in our camera bags

Would you want to lug this collection with you when out shooting?

I have found a funny relationship between the size of bags that we carry around and how much stuff we end up carrying.

For example, when I had a really big camera bag, I always ended up carrying way too much crap with me when I would go out and shoot. I would carry two bodies, two or three lenses, and just in case– my laptop. Don’t forget the water bottle, extra batteries and memory cards, and the moleskine notebook (to look fancy).

Needless to say, carrying so much crap with me on a regular basis when out shooting made me miserable. My back would hurt like a mofo after shooting for a few hours. My shoulders would feel strained. I would think more about the weight and strain on my poor body than enjoying shooting.

When I used to travel, I would be the typical Asian tourist: I carried a huge rolly-bag, a huge camera bag, and bags full of miscellaneous crap. This would always cause me to be delayed at the airport (having to check in my stuff, alarms going off at the x-ray machines, and the pain of lugging it all around).

The funny thing was that at the end of these trips, I discovered I would always use less than half of the stuff that I packed. Which made me feel like a dumbass and ask myself, “Why did I bring so much crap with me?”

Carrying too much luggage with you when you travel is horrible.

So I tried to reduce the amount of crap that I carried with me slowly. I brought fewer clothes, fewer bodies, and fewer electronics. Slowly but surely, I was able to cut back– and become a more minimalistic traveler.

Now I am down to the bare essentials a small camera bag (for my camera and laptop) and my school backpack (for my 2-pairs of quick-dry shirts/boxers/socks, misc electronics (batteries, hard drive, etc), and film.

Needless to say, I am now far happier than when I traveled with so much stuff.

My suggestion is when you travel or shoot, try to carry less stuff with you whenever humanly possible. The least you really need to carry with yourself is one camera and one lens (and perhaps some extra film or memory cards/batteries). In-fact, if you don’t travel extensively, the best camera bag is no camera bag. Just carry your camera with you and shove your film and batteries into your pockets. Less is more.

Having less weight on you will help you on many levels. When you shoot, you will be more focused (you won’t worry about that heavy weight on your back). Not only that, but you will be able to shoot for longer periods of time without being tired. Also by having only one camera/one lens– you won’t think twice about your equipment. You will just shoot.

2. Less distractions in a photo

A very straight-forward Alex Webb photo, and one of my favorites. © Alex Webb / Magnum Photos

Generally when people ask me to critique their images, I often find that photographers have too many distracting elements in the frame. The culprit is generally a distracting and busy background littered with random cars, heads, signs, and words in the background which distract from the main subject in the frame.

I know that nowadays it is the fad to condense in as much content into the frame as possible (think Alex Webb). Although I love these types of images, I feel the problem is that that working in this manner focuses more on visual gymnastics rather than focusing on the emotion and soul of a photograph– and a central subject which ties it all together. Even with Alex Webb’s images– I prefer his simple and emotionally powerful photos compared to his complex and multi-layered photographs.

A quintessential Alex Webb photo, with lots of complexity and layers. © Alex Webb / Magnum Photos

I don’t mean that we should start to “dumb down” our photography and work. Rather, we should try to simplify our images and make them more powerful. We want our images to communicate a certain message to the viewer. Therefore, I recommend trying to subtract things from your frame, rather than adding too many elements. Once again, less is more.

A simpler and more emotional/socio-historical image by Alex Webb. Although this photo is simpler in form, personally this photo has more meaning than the previous photo. © Alex Webb / Magnum Photos

Simplify your backgrounds. Look for clean backgrounds, then wait patiently, and add your subjects afterwards. Remove distracting cars, heads, and light poles.

A photograph by W. Eugene Smith. A simple and straight-forward portrait, but full of power and dignity. Copyright: W. Eugene Smith / Magnum Photos

Also try to strive for simple but powerful compositions. Some of my favorite photographers in history include Josef Koudelka and W. Eugene Smith– both who are photographers who created emotionally powerful images– with rather straightforward compositions. Their work is a great testament to the fact that you don’t need overly complex images to be effective.

3. Less time on the internet

Yes, the internet can seriously be a drug.

In today’s age, we spend far too much time on computers and on the internet. It is easy to spend hours on Facebook, Twitter, and blogs and lose track of time. This happens to me personally all the time (and I wouldn’t be surprised if it happened to you too).

The problem about spending too much time on the internet is that we end up spending too much time glued to our screens. This causes us to lose time to do other more important things (like going out and shooting). What would help our photography more? Studying sharpness tests of a brick wall of the newest lens (that you can’t afford) or going out and using the equipment we already have to create art?

The more time you spend on gear forums, the more time you will spend time staring at brick walls (and figuratively hit a brick wall when it comes to your photography).

Spending less time on the internet can also cause you to spend more time meeting other photographers (in person) critiquing, sharing, and engaging in talk about street photography. You can use that time to go through your library of photos, edit them, and sequence them for a new project. You can use that time to develop some film that has been lying around. You can use that time to go to the library and check out some photo books (or even read your own books that have been lying around at home).

Conclusion

In our society, we love more. We are told (by advertisers) that having less is only for losers.

But being suckered into wanting more, we will never be satisfied. We fall into the “hedonic treadmill” into wanting more and more and more.

Rather, we should strive for less. In street photography, fewer cameras, fewer lenses. Fewer distracting elements in our photos. Less time spent on the internet on gear forums.

Time is the most valuable gift we have. Let’s not waste it.

Embrace less. Remember, less is more. I think this is surely the secret to a long, productive, and happy life (and good street photography).

(Above video: New street portrait POV video I recorded in Chicago. Chicago Street Portraits, Volume #5)

I have always been drawn to people, especially those who I find are interesting “characters.” I tend to gravitate towards people who have interesting facial expressions, to those with outstanding outfits, or accessories.

Although the majority of the street photography I do is done candidly, I have been drawn towards doing more posed street portraits of people I find interesting. Why? I find it gives me more time to interact with them, learn more about their lives, and also to take more photos of them (with their cooperation).

So once I get my subjects’ attention– how do I direct them and what is some of the psychology that goes behind it? I will share some candid thoughts (pun intended) about my process in terms of directing my subjects when taking portraits of them.

Why get my subjects to pose?

A portrait of a guy I shot in Downtown LA at Starbucks. I saw him, approached him, and chatted with him for about half an hour. He told me his life story, how he was an aspiring actor, and how he loved bright colors. Toward the end, I asked if I could take a few portraits of him. He was glad to do so, and he asked me, “What do you want me to do?” I then told him: “Fix your tie.” I took two photos–and this second photo was the more interesting one. A case where getting your subjects to pose for you can make an interesting photo.

Street photography is generally understood as taking candid photos. However in my opinion, I don’t think that they have to be candid. Some of the most memorable street photographs taken in history (think Diane Arbus, William Klein, and even Henri Cartier-Bresson) have been posed.

I still do believe that candid photos tend to be more interesting than posed photos– but I think with enough luck and determination you can still get interesting posed photos of people on the street.

How to approach your subjects

I was teaching my week-long street photography workshop in Venice with Adam Marelli– and a couple of us were having drinks and dinner at a bar there. I saw this tough looking guy sitting at the end of the bar, and I thought he would make a great subject. I approached him (a bit tipsy) and asked if I could take a few portraits of him as he looked great. At first he started laughing and he refused, but I persisted. I then started to snap a few photos, and saw he had an interesting tattoo under his shirt. I asked him to show me the tattoo, and to my surprise– he started to take off his watch and started to unbotton his shirt. I then took a few photos, and this one being the most interesting to me. I like the sense of anonymity behind the photo, and it looks quite natural to me (although it was posed).

Approaching someone to ask them to take their portrait is very much like approaching the opposite gender at a bar. For you guys out there, the biggest issue we have is worrying about rejection. It is not so much the rejection that we are scared of (once we get rejected it isn’t so bad)– but the thought of getting rejected. Ladies, you can face the same issues (but I think men generally tend to approach women more often in bars).

I think the most important thing about approaching someone is showing confidence (once again, very similar to approaching the opposite gender in a bar–or some other social situation). By showing that you are confident, the other person feels more comfortable around you– and are generally more likely to open up. If you are nervous, hesitate, and fiddle with your fingers– the other person might become suspicious of you.

Nowadays I don’t approach women in bars (I am in a committed relationship with my girlfriend Cindy, like a good boy) but I still do get the fear of approaching random strangers to ask to take their photo.

The best way I have found to overcome the initial hesitation to approach a strainer to take their photograph is to simply not think too much. Once we start thinking too much, we start spelling out all of these imaginary scenarios in our minds. We see the other person looking disgusted or bothered by our request, and shooing us off– while onlookers also give us strange looks and stares. Perhaps we are concerned about being laughed at, rejected, or being seen as a “weirdo” by others. By not thinking too much, we don’t fall into these imaginary hypothetical scenarios (as nobody is able to tell the future with 100% certainty).

Another strategy I have is to think about the worst-case possible scenario. The worst case scenario for asking someone to take their picture is that they will just say “no.” I doubt anyone will punch you in the face for asking to take their picture (especially with permission). So ask yourself: do you feel comfortable with someone saying “no” if you ask to take their picture?

In-fact, it might be a good strategy to try to get someone to take no when asking to take their portrait. This is something that Satoki Nagata shared in the last street photography workshop I taught with him in Chicago. When he first started his training in feeling more comfortable approaching strangers, he first approached people who looked nice and would say “yes” to being photographed (families, nice old-looking people, friendly-looking couples, etc).

Then the next step Satoki took was to purposefully look for mean or disgruntled looking people, to get them to say “no” when asking to take their portrait. Funny enough, he found that the people who looked most hesitant to get their photos taken said “yes” about the same percentage as people who looked nice.

Takeaway point: Don’t judge people by their outward appearances. Expect the worst when asking to take people’s photo (having them reject you) but hope for the best (that they will say “yes”). And trust me, getting rejected isn’t so bad– it is often the fear of rejection that paralyzes us the most.

Case Example: Approaching Two Girls in Red

Once I approach a subject, I first start to break the ice by telling them why I want to take a photo of them– and what about them specifically I find interesting.

For example, on my road trip from Philly to Michigan– I was eating a hamburger at a popular pub in Pittsburgh. While I was enjoying the juicy meat and salty potato chips, I saw two young African-American girls (probably mid 20′s) sitting a few seats across from me. One of them had a bright red afro, and the other had straight-red hair, with some golden necklaces dangling from her neck.

The restaurant was packed, and I was a bit nervous in thinking of how others would perceive me. I also was really enjoying my hamburger, but was also nervous that once the two girls’ order would come out–they would be too preoccupied eating (and wouldn’t be so receptive in terms of having me take their portrait). I then put down my burger, took a large sip of my water and then the fear struck. What if I get rejected, or if they think I am a weirdo?

I then told myself: Why the hell do I care? I am a weirdo. I really will regret not asking to take their photo, and don’t mind so much if I get rejected– I’ll just go back to eating my delicious burger.

So I stood up, and approach them and first started talking to the girl with the red afro. I told her, “Oh my gosh, I was eating my burger from across the room and I saw your red afro– which is awesome. I have never seen a red afro. How long have you had it?” She then responded by telling me that she just got it done, and was glad that I noticed. I then told her, “I know this might sound really weird, but I am a photographer based out of Michigan and am currently doing a road trip and taking photos of interesting people I meet along the way. Do you mind if I took a quick photo of you?” She smiled, shrugged her shoulders, looked at the girl sitting across from her (also with red hair)– and said okay. She also mentioned– that the girl sitting with her was her sister. I said, “Perfect, I will take a photo of her next too!” Her sister said, “Oh okay, no problem.”

I then looked around the pub, and wanted to find a nice simple background. Since she had red hair, I wanted to find a nice green color to contrast it. I then looked around the restaurant, and found a simple patch of green about 10 meters away. I then told her, “I know this is kind of a hassle, but do you mind if we walk over there [pointing to the green wall] because your red hair would go amazingly well with the green wall.” Note that I explained to her why I wanted to move, and she had no problem.

Directing Your Subjects

This case, I saw this cool looking guy standing at the water in Istanbul. The sunlight was nice, and I asked if I could take a few photos of him. He accepted, and I asked him to look straight at my camera. At that moment, a boy started to dive on the far right. I waited for the ‘decisive moment’ and clicked once the boy was about to jump in. I love the light in the shot, the deep blue, and the three elements (white post on far left, man in middle, boy on far right).

So now I built some sort of mutual trust between me and my subject. Now comes the even more difficult issue: how can I take an interesting photo of her without looking so posed?

The first most important tip I learned is to not have your subject smile. This is something I learned from Martin Parr. He gets his subjects to look straight into his lens, with a deadpan look. If you want to see more of his working process, I highly recommend getting the “Hot Spots: Martin Parr in the American South.” In the film, Parr tells his subjects to not smile– as he wants the photo to be a “serious” and “dignified” portrait. He later explains in the film that all the snapshots we take of our families we are smiling– which isn’t natural (when we walk on the streets and act natural, we rarely smile). So to get someone not to smile often looks more authentic.

So the first thing I will tell my subjects is not to smile, as it will be a “serious portrait.” Interestingly enough, the second that they drop their pre-arranged smile, a rush of authenticity of their personality quickly emerges. They look a bit bored, despondent– but much more authentic than them smiling.

Then I ask them to look straight into the lens (while pointing to the lens of my camera). There is a saying, “Windows are the eyes to the soul” and I find the most captivating portraits to be the ones in which the subjects are looking straight at you, the viewer. This creates more of a connection with the viewer.

I also try to get their hands in the photo, so I will often comment on an accessory or even their hair (so they can make an interesting hand gesture which doesn’t seem so posed). For example, with the girl with the red afro– when she was standing in front of the green wall, I asked her how she was able to get her afro to get so big. She then mentioned how she would pick at her hair, and then started to pick at her hair (an interesting hand gesture). At that moment, I took two photos in quick secession. I also wanted to see her do a funny photo, so I asked her to just grab her hair and act as if she was crazy. She laughed, and played along and I took two quick shots.

You can also do this with people wearing interesting glasses. You can try it out to anybody: tell them that you like their glasses, and ask them where they got it. The first thing people almost always do is say, “Oh these?” and start touching their glasses and even proceed to take them off. The moment they do that, it is a great gesture that you can photograph. The same also goes with people with interesting necklaces. Ask them about their necklaces, and they will start toying with it with their fingers. This is a great gesture to photograph.

Ethics of Posing People?

I was shooting in Downtown LA, and saw this guy walking down the street–blowing his nose. I then approached him, about to take a photo– and he put down the tissue. I then told him it was okay, and to continue blowing his nose. He then laughed, and started blowing his nose again. I took two shots, and this one was the more interesting one. I think it looks quite candid, even though it was posed. I think at the end of the day, it is also an interesting and memorable photo.

One of the objections I hear is how “ethical” it is to pose people. After all, won’t it be fake and not show their “true” self?

Well first of all, I think that whenever you take a photo or a portrait of someone– you show more of yourself than the person you are photographing.

Richard Avedon (one of the greatest portrait photographers who ever lived) has explained this in countless interviews– in which his subjects felt exploited in terms of having Avedon capture them in moments in which they felt “vulnerable.” They stated that the photos of them weren’t who they truly were– and rather a false image of themselves.

I think this portrait of John Ford, film director shows more about Avedon’s vision than who Ford really was. Copyright: Richard Avedon / Bel Air, California, 1972.

Avedon responds by telling them that they are absolutely right. He explained that the photos he took were from what he wanted out of the photo, and showed more of his own personality and way of seeing the world (than that of the subject).

I don’t think it is physically possible to show someone’s “true personality” through just a single portrait. After all, how can we show the full gamut of our life experiences and emotions in just 125th of a second? We can’t simultaneously cry, laugh, and share memories from our past in a photo. A photo is just a subjective slice from reality.

So when it comes to street photography, I don’t have any false pretense that the photos I capture show some sort of “objective reality.” Rather, they show how I see the world– and what in particular I find interesting in other people (which is more of a reflection of myself).

Even when posing people to take their portraits, I am exploring myself through photographing them. What I find interesting about them probably isn’t what they find interesting or unique about themselves. They might think their earrings show an interesting part of their personality, while I might be drawn to their eyes. Once again, it is all subjective.

I also think that street photography shouldn’t strive to be as objective, as let’s say– documentary or news reportage photography. In documentary or reportage photography, photographers have more of an ethical obligation to show some sort of “facts” or “objective reality” to the rest of the world. Street photography is more about our personal exploration of the world, and how we see things through our lens. So I would argue, of course you don’t want to exploit your subjects– but know that there is little (or no) objectivity in the photos you take.

Conclusion

Whenever in doubt, I always ask for permission. I saw this tough looking guy with tattoos all around his neck, and told him that I thought they were cool. I asked to take his photo, and he obliged. I took two shots, and I like how calm and friendly he looks– and the heart-shaped lights in the background. Sometimes the scariest looking people are sometimes the nicest people. You never know unless you step out of your comfort zone and ask.

To sum up, I think that getting people to pose for you and taking their portraits is a great way to build your confidence– and also connect with your subjects. I think one of the problems of street photography is that it is quite shallow in a lot of regards. We can just take quick snapshots of what we find interesting, without stepping outside of our comfort zones to really get to know our subjects. While I do think this type of photography is okay– personally it makes me want more. I want to get closer to the subjects I photograph, and by talking and interacting with them is one way to do it.

I also disagree with the statement that street photography has to be candid. William Klein’s famous photo of the kid pointing the gun straight to our face was in-fact, a posed photo. He told the kid, “look tough” and at that moment– the kid looked enraged and played it up for the camera. I don’t think anyone would say that is not a street photograph.

William Klein’s famous ‘Kid with Gun” photo. Copyright: William Klein

So don’t worry so much about what street photography is and what street photography isn’t. I think it is a stupid debate. Just aim to take interesting photos of society and the world around us. Whether the images are posed or not, it doesn’t matter so much. Just make them meaningful and memorable.

What are your thoughts about posing your subjects and directing them. Do you think street photography has to be candid, or not? Share your thoughts and opinions in the comments below.  

Eric’s Note: I am honored to share this interview with James Whitlow Delano, a talented photojournalist whose work has been awarded intentionally, including the Alfred Eisenstadt Award (from Columbia University and Life Magazine), Leica’s Oskar Barnack, Picture of the Year International, NPPA Best of Photojournalism, PDN and others for work from China, Japan, Afghanistan and Burma (Myanmar). His most recent iPad book Black Tsunami (FotoEvidence) documenting the Japan tsunami and nuclear crisis took a 2012 PX3 Award.

James is now trying to get his “Black Tsunami” book published as a hardcover book. Check out the Kickstarter page and support this noble cause, and also check out my interview with him below.

1. Great to have you James. For the viewers who may not be familiar with you and your work, can you share how you got started in photojournalism?

An ocean going ship sits where it came to rest in the debris of the great 25m high (82 ft.) tsunami that hit Kesennuma, Miyagi Prefecture following the massive earthquake that struck under the sea off of Japan.

I came to reportage/photojournalism through street photography. The greatest influences on my photography have been street photographers like Henri Cartier-Bresson, Robert Frank, Garry Winogrand and others. The transition to photojournalism was to focus a street photography style photographing on the streets on a specific subject.

But my photography background is more complex than that. I assisted some of the greats in New York and Los Angeles in
the 80′s and early 90′s like Annie Leibovitz, Joel Meyerowitz, and Michel Comte. Each have taken different routes but we all shared in the legacy of street photography and all referenced the photographers I mentioned above. All owned Leicas.

In fact, it was Joel Meyerowitz who introduced me to Leica M cameras and I use them to this day.

2. What brought you to Japan, and how is it to photograph there versus the states?

An elderly woman shuffles through a city wiped off the face of the earth by the 25m (82 ft.) high tsunami which arrived 30 minutes after the largest earthquake in Japan’s recorded history, Rikuzen-Takata, Iwate Prefecture, Japan. In Rikuzen-Takata 10,547 residents, nearly half the population of roughly 26,000 people, are living in evacuation shelters. Japan Self Defence Forces say they have found 300 to 400 bodies there. About 5,000 of the city’s houses were submerged by the quake-triggered tsunami.

I was living in Hollywood during the time of the Rodney King riots The work I had been doing there had pretty much run its course. A friend returned from Japan and said what an amazing place it was. Japan was kind of in the same place China is today. It was the emerging economic superpower. I decided to move there. That also happened to be the time that China’s development hit overdrive. I was fortunate to be in the right place at the right time.

3. You are currently working with FotoEvidence to produce a hard copy book of your work, “Black Tsunami: Japan 2011″ about the devastation after the great tsunami. What first lead you to documenting this tragedy?

Route 6 completely failed and crumbled away during the massive 11 March 2011 earthquake at the main southern police checkpoint for the 20 km (12.4 miles) nuclear no-entry zone. Hironomachi, Fukushima Prefecture, Japan.

I have lived in Japan for 20 years. It is my adopted home and now I have family there on my wife’s side. There was never any question about whether I would document this history changing tragedy. It is personal, affecting the country I live, affecting my food supply and potentially our health.

So, the recovery is of personal interest and I hope I bring a different point of view to interpreting events.

4. What do you want your viewers to get out of “Black Tsunami” and feel?

Rescue workers pause from work for a collective prayer for the dead a week after the precise moment the tsunami struck Ofunato, Iwate Prefecture, Japan. The number of missing or dead has topped 26,000 and the confirmed death toll has risen to over 10,000 people.

I would like to bring a residue of the tsunami to the viewer. I want to place the viewer on the ground and understand the scale of the disaster and the intensity of living through it.

Also, people tend to forget quickly. I have recorded raw survival mode of the early days after the tsunami struck, because I already felt those emotions fading; the worries, the breakdown of supply lines, the lack of heat, rudimentary shelter and the retention of order despite entire villages being flattened.

5. Can you talk a bit more about the symbolism of the cherry blossoms in your book?

Cherry blossoms have open on a tree that seems to rise right out of the rubble. Ofunato, Iwate Prefecture, Japan.

I was standing with a Japanese friend in Ofunato in front of a traditional house that had been ripped from its foundation and deposited in front of us, there was a tug boat that came to rest there about 1 km from the sea.

There were two cherry trees, bare for winter with clothes strung in the branches. My friend commented that they reminded her of her grandmother’s description of Tokyo during the WWII firebombing.

I decided I would return to see if these trees bloomed during o-hanami because of the symbolism that already exists in Japanese culture for rebirth and the transience of everything in life. So, I happened to be in Fukushima slipping inside the no-entry zone when I found out that the cheery blossoms up there were in bloom.

6. What was the most difficult part of photographing for this project, both photographically and emotionally?

Father brushes his daughter’s teeth at an unheated evacuation center for survivors of the tsunami in Otsuchi, Iwate Prefecture, Japan, where 700 people whose homes have been damaged or destroyed, live. There is no running water at the middle school which serves as an evacuation center. So, water must be used sparingly. The cold comes down hardest on children and seniors.

The hardest part without question was to listen to people’s stories about lost loved ones and survivor’s guilt. The
residents, I always remembered, were just a week before, normal people living normal lives. People in trauma are often viewed as if they are somehow of a different realm, if you know what I mean, but all of us are one very bad day away from being in exactly the same situation.

I met a man who told us how the first wave had come and his mother wanted to return to her house because her life savings were inside. Finally he relented and she went back to the house but the second, larger wave came before she could get out of the house. The house was swept away. Her body had not yet been found. He told us, in painful, tearful candor, how his family called him a murderer for allowing to return to the house, resulting in her death. That is just not easy to listen to, and harder still to help him to believe that he should not blame himself for her death. I will never forget him.

7. What is some advice you would give to other photographers who wish to pursue their own documentary projects?

Portrait of a young boy found several kilometers inland from the sea, swept there by the great 25m high (82 ft.) tsunami where it was exposed to the snow, Otsuchi, Iwate Prefecture, Japan. The fate of the young boy in the photograph is unknown.

I always encourage emerging photographers to have the confidence to trust their own vision, and develop their own distinct photographic style. I also suggest that they produce their own stories, on their own and present complete stories so that editors will see how they view the world and their ability to carry out a project to fruition.

8. What are some last words you would like to mention that I haven’t asked?

There was no escape. Resident of Rikuzen-Takata walks at the high water mark of the great tsunami several kilometers from the sea and still lumber is piled up on rooftops. The rest of the city was completely leveled. The tsunami that arrived 30 minutes after one of the biggest earthquakes in recorded history, Rikuzen-Takata, Iwate Prefecture, Japan. In Rikuzen-Takata 10,547 residents, nearly half the population of roughly 26,000 people, are living in evacuation shelters. Japan Self Defence Forces say they have found 300 to 400 bodies there. About 5,000 of the city’s houses were submerged by the quake-triggered tsunami.

There are times when a massive event will visit upon places that are important to us. It is more important at times like this than ever to go out and document our world and bring an informed point of view so that others can comprehend what is going on. In my career, this was a time where I truly believed that my work was able to affect change. The collective work of the many photographers who brought back images of the tsunami and nuclear disaster meant that more relief funds were raise for the recovery of residents there.

Black Tsunami Kickstarter Video

Biography

James Whitlow Delano has lived in Asia for 20 years.  His work has been awarded internationally: the Alfred Eisenstadt Award (from Columbia University and Life Magazine), Leica’s Oskar Barnack, Picture of the Year International, NPPA Best of Photojournalism, PDN and others for work from China, Japan, Afghanistan and Burma (Myanmar), etc..

His first monograph book, Empire: Impressions from China and work from Japan Mangaland have shown at several Leica Galleries in Europe. Empire was the first ever one-person show of photography at La Triennale di Milano Museum of Art.  The Mercy Project / Inochi his charity photo book for hospice received the PX3 Gold Award and the Award of Excellence from Communication Arts.  His work has appeared in magazines and photo festivals on five continents from Visa Pour L’Image, Rencontres D’Arles; to Noorderlicht.

His new iPad book, Black Tsunami (FotoEvidence) documenting the Japan tsunami and nuclear crisis took a 2012 PX3 Award.  Delano is a grantee for the Pulitzer Center on Crisis Reporting.

Follow James

• Website
• New Stories
• Facebook
• Twitter

 Support “Black Tsunami”

At the time of publishing, Black Tsunami has less than 15 days to go to reach its goal (and is almost halfway there!). Help support James and make his dream come true by donating! If you have ever wanted to accomplish something, the more you give the more will come back to you. It is all about karma.

I already pledged $100 USD to make this happen. Every little bit counts! Open up your heart and let’s show how generous the street photography is!

• Donate to “Black Tsunami” on Kickstarter