“The Way I See It”

 

(Recently, Cara Wilton asked me for me to write a guest post for her blog, “The Compact Camera”.  The following is posted on here.)

The beauty of street photography is that, unlike other disciplines within photography, it is pretty much left up to “eye of the beholder”.

Troll around Flickr, 500PX, Tumblr, and other various aggregators of photography and you’ll find that just when you think you understand what classifies as “street”, someone else gives you an entirely unique spin on the genre.

And that’s where I believe that I come in.

You see, there is school of thought that edgy street photography must come from midtown Manhattan, Los Angeles, London, or Tokyo.  And while I spend a great deal of time within the epicenter that is Manhattan, I prefer to explore the unseen parts of “The World’s Greatest City” (like “Washington Heights” and the Bronx).  In addition, I have the audacity to explore urban New Jersey such as the ungentrified parts of Jersey City, Paterson, Newark, and Plainfield.  By no means does this give me credibility amongst hipper photographers, but it allows for me to tell the story of oft-ignored cities.  These are cities which were left behind from America’s industrial past.  The attitudes of its citizens provide insight to a word that rarely sees The Shore and is a train ride away from the hope of New York City.

What I dislike are “voyeurs” who see urban America as some sort of zoo.  People will come with their dSLRs, their daypacks, a bottle of water and trek around “safe” areas snapping away.  It strikes me as if they are saying to themselves, “Ooh, look at how they’re living!”   Not only is this paternalistic, but devalues the surroundings.  I think that it is best to shoot areas which you know or have a general interest in.

As an adjunct professor, my students laugh at the fact that I actually walk the streets of Paterson, Union City, Newark and Jersey City.  I believe their minds have been trained to see their towns as ugly.  Yet,  their eyes are aglow when they see some of the shots.  They can’t believe that this is Their Town.  Photographers, especially street photographers, should see this as their mission whether it’s their own neighborhood, their favorite part of town, or a new city.

I think that it is important that I reference these cities, because I’ve seen a lot of street photographers make a name for themselves by putting the camera in the face of a random person.  While that may be the modus operandi in larger cities, where I shoot, that style is a license to kill.  The streets of urban New Jersey is a mixture of hardened veterans from The Glory Years and recent immigrants.  The former isn’t keen to “tourists” and the latter may have even greater concerns when their identity is revealed.   I have to make sure to use a bit of common sense on what to shoot and walk to avoid.   Some areas have a vibrant “underground economy”, obviously those transactions are never documented by my lens.

I enjoy being part of the environment.  I talk to the residents, I go to the stories, I interact with store owners.  This places everyone at ease with me, shows that I genuinely care, and allows my camera to capture intimate moments.  By being an active player in the community, I am in sync with the  rhythm of the neighborhood.   Conversely, when not in full view, not only does the photographer look as if they’re prying in an intimate moment, but they lose “feel” of situation.  Look at any great photograph.  The essence of that moment is captured because the photographer knew when it was time for the shutter to click.   Basically, they knew The People.

There are times which I rethink whether I need to leave my point-and-shoot and “graduate” to the dSLR.   Right now, though, the point-and-shoot fits my needs.  I do use manual settings, but I do not have to worry some of the concerns that come with adSLR.  Often, I find that people are less intimidated with the point-and-shoot as, in their minds, it looks “less professional”.    I’m thrilled with the results.

Only a year into street photography, I like the direction my work is going in.   I think that I’m able to catch beauty in what the “average” eye may simply walk past.  I hope that my shots capture an identifiable moment like the lyrics to your favorite song.  And if any picture can do that, then the photographer has reached their goal.

“Sharing The ‘Ledge”

Law school is nothing like photography.

Of course, you don’t need me to state the obvious.  (Otherwise, Tim McCarver would be out of a job during FOX baseball coverage.)

See, in law school, you were primarily left to your own devices.  Beyond getting by with the help of your (close) friends, if you didn’t understand The Rule of Perpetuities, do you really think someone else is going to explain it to you?

I loved the education I received at my law school, but one (in)vaulable lesson was never to give anyone tips to the trade.  And that’s been my credo ever since graduation.

A year ago, as I started getting commentary on my photographs, I was asked by someone what did I use for post-processing.

I simply stated a free online program.

Wrong answer.

My sister explained that in terms of photography, that’s the wrong attitude.  It’s about sharing techniques, learning from each other, and advance the art.

Talk about an attitude adjustment.

But she was right.  (And still is.)  Over the last eight months, I’ve been in contact with a lot of great photographers who are more than willing to exchange emails, provide advice and commentary, with the hopes of making me a better photographer.  The likes of Shawn Hoke and Tieshka Smith have been invaluable in their lessons and motivation.  (I will be sending Mr. Hoke a bill for the countess roll of film I’ve developed over the last several weeks.  Meanwhile, Ms. Smith is just an all-around cool person to know.)

My chance meeting with Henry Adebonojo at SummerStage’s ”Africa Day” was phenomenal.  To have a person with so much talent available at the click of an email, and willing to provide help and advice, is unbelievable in a world that gets competitive every moment.

In pushing the educational level a step further, I’ve been fortunate to participate in two Google+ NYC Streetphotographers PhotoWalks.  Not only did I have the chance to witness the techniques of some top hobbyists, but I’m walking the streets of New York with Leanne Staples and Vivienne Gucwa, amongst others, was akin to being a kid fresh out of high school, going to Yankee Stadium and standing next to Derek Jeter, Mariano Rivera, and Alex Rodriguez in the locker room.  You’re able to watch what made them great, but a bit hesitant to ask them for any tips because you don’t know if it’s your place.  (They, as do all the others associated with the group, are very welcoming people.  I just need to get over my acute shyness.)

Sure, there are old school types who believe that their “craft” is not to be shared, but when I asked “Kora Foto Morgana” about her post-processing, she was none too happy to explain her approach.  Just that simple message helped bring another life to my images that looked too bright, and at times, too harsh.

As I continue to explore different avenues in photography, it is delightful to recognize that I’m entering a hobby that is as varied as they eyes behind the lens.  But what is even more impressive is that the hearts belonging to those eyes are just as big.  It is this shared knowledge that is helping me become better every day.  I only that I will be able to return the favor to others.

Besides, who has actually ever met an attorney with a heart?

(Don’t answer that.)

“The Decisive Moment: A Digital Drama”

Prolouge: By no means do I call myself a “street photographer” in the vein of countless others who have sites far more popular than mine.

Nevertheless, one question I get from my friends and “followers” is whether I’ve actually been confronted when taking photographs on the street.

I often tell them that (a) I know my environment and (b) I know who to shoot. I find this to be essential when taking pictures of strangers who are in the midst of their daily activities. I don’t believe that “street” shooting should be compared to going on a safari. Instead, I find the ultimate goal should be to illuminate the mundane and express its hidden beauty – without surprise, scripting, or being intrusive.

To that extent, my experience this past Friday was a lesson in how people don’t understand the nature of street photography and how this misunderstanding can lead to a volatile moment.

Time and Setting: Late afternoon, perfect sunlight and shadows
The Scene: Jersey City, New Jersey. Off Bergen Avenue. McGinley Square Area.
The Actors: Me (as photography), two adult men, and three children

(Cue: “Bewitched”-esque opening sequence music)

Action.

Because I knew the shot would involved children, I automatically asked the permission of the two adults. Both gave their enthusiastic approval. Perfect. And the I proceeded to take approximately 20-40 shots of them enjoying the early Fall afternoon. Laughter was the order of the day with the children hamming it up for my Canon PowerShot SD780.

(Cue: The Angry Woman exiting the salon next door and threatening music.)

“The hell you’re doing taking my daughter’s picture?!”

From there insued a heated five minute discussion where I explained to her that I had no idea it was her daughter and that the store owner gave me permission to photograph the children. Little did I know that the children were only his daughter’s friend, not his children.

Fortuantely, the store own “protected” me – as best he could.

“Don’t you know you need the mother’s permission?!”

Again, I explained that it wasn’t apparent that this child was without a parent. I had permission from the apparent adult in charge.

(Cue: The On-Lookers who only hear the word “children” and “pictures” along with the soundtrack of confusion, like The Bomb Squad production or something from EPMD)

“What kind of pedophile are you?”

“Don’t you know the law that you need permission to take a picture of a private citizen?”

To the first, I responded that I had permission. And she promptly left.

To the second, I reminded the “Street Lawyer” that I can take pictures of anyone in public provided I’m not selling their likeness for profit.

“Oh, and so you’re a lawyer?”

I pulled out my business card. Checkmate. He leaves.

Still, the problem remained with the mother. As much as I tried to cool her down, she had this impression that I was doing something nefarious. Even the store manager said, “He’s a good man. I saw his site. He takes good pictures. Very respectful.”

“Well, he wasn’t respectful enough to ask me! Get rid of the pictures!”

And she proceeded to stand behind me while I erased twenty-five pictures. Photographs that were some of the best I’ve taken in a long time.

“Sorry,” stated the store owner as he tried his best to understand my position.

Epilouge: The lesson is that no matter how earnest photographers may be, there is always a person on the other side of the lens who may not “get it”. And when they refuse to understand, it places not only the shooter in a precarious situation, but has the chance to place all urban photographers in a bad light. Fortunately, for me, it didn’t get violent, but it did get a hairy for a moment.

There has been a lot of debate on a popular street photography site as to whether is it wrong to snap a picture without permission. To that, I say, like a typical attorney, “Well, it depends…”

And the ultimate variable deals with children and their parents.

(Cue curtains and “One to Grown On” chimes.)