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Thedecisivemomentisseveralthings.ItisthenameofabookcontainingthephotosofHenriCartier
Bresson.ItisthephraseBressoncameupwithtodescribehisapproachtohisphotography.Itisthemantra
thatmanyhaveusedtotalkaboutstreetphotographyintheyearssinceBresson.
Whatdoestheconceptmean?WhatdidBressonmeanbythedecisivemoment?Howdoesithelpus
becomebetterstreetphotographers?Doestheideaofthedecisivemomentevenholdtrue?
Bressonsaid,Lifeisonce,forever.Thissinglequote,maybemorethananyother,givesussomeinsightinto
histhoughtprocessandwhathemeantbythedecisivemoment.AlittlelaterinthisinstalmentIwillsuggest
that,perhaps,itisnotquiteastrueasBressonthoughtandthatwecanexperienceourownGroundhogDay
fromtimetotime.Thatthesingle,definingdecisivemomentdoes,inreality,notexistoris,attheveryleast,a
rareandetherealthing.
Thatmomentisnotsimplythepositionofthesubjectinjusttherightplaceintheframe,though.Lifeisnotjust
theplacementofaperson,orpeople,ataparticulartimeinaparticularplace.Itismorethanthat.Itisthe
entiretyofthescene.Itistheinterplayofthesubjectwithhersurroundings.Itisthewaythelightisfalling
withinthesceneandonthesubjects.Itisthetotalityoftheconstructionoftheimagethatmakesitcompelling.
Thegeometryofthecontrastbetweenlightandshadow.Theparticularwaythelightfallsandplacessome
partsofthesubjectinshadowwhilemakingotherpartsvisible.Theconfluenceoflightandcircumstance.
Youmayseethesamepersonnumeroustimesoverthecourseofyourwanderingsbutitwillbetherare
occasionthateverythingcomestogetherjustsotocreatetheperfectphoto.Thatisthedecisivemoment.To
befair,BressonsdecisivemomentisdifferentfromWinogrands.ButBressonsapproachwasverydifferent
fromWinograndsbecausetheirideaofhowtheyapproachedthecraftwasdifferent.Bressonwasmuchmore
contemplative.Hewouldoftenwaitmuchlongerforwhathefeltwerejusttherightalignmentofelements
structures,subject,lightingthenpresstheshutter.Winogrand,andmanyotherstreetphotographers,are
muchmoreactiveandshootmuchmore.Winograndsapproachwasmoreinlinewiththeideaofstreet
photographyasadocumentingofdailylife.Bressonswasmorealifeasartapproach.Buttheideaofthe
decisivemomentstillholdswhetherittakeshourstocometogetherormereseconds.Withrespectto
Bressonsapproach,itraisesthequestionofspontaneityinstreetphotography.Isitarequirement?Can
Bressonsapproachbeconsideredtobestagingofaphoto?Certainlythereisspontaneityinhiswork,aswith
themanjumpingoverthepuddle.Isspontaneityrequired?Iwouldargueno.Andwillshowwhylaterinthe
essaywithmyGroundhogDayallegory.Doesthislackofspontaneitymeantheimagesarestaged?Again,I
wouldsayno.Bressondidnotgoandaskaparticularpersontowalkinaparticularplaceinhispicture.He
simplywaitedpatientlyfortherightpersoncombinedwiththerightlight.Landscapephotographerswillwaitfor
whattheyconsiderasperfectconditions,whyshouldntstreetphotographers?
Youmaybegettingtheideathatthismomentcannotbeforced.Andyouwouldbecorrect.Themoreyoutryto
forceapicturetohappen,thelesslikelyyouaretocomeawaywithagoodphoto.Itisanatural,organic
process.Thisispartofthereasonwhystreetphotographycanbesofrustrating.Somedaysyoumaygoout
andnotseeanythingthatmakesagoodphoto.Otherdays,theremaybeopportunitiesateveryturn.Itissort
oflikefishing.Somedaysyoucanspendhoursonthewaterandnotgetevenanibble.Otherdays,youcant
pullthemintotheboatquicklyenough.Whatmakesthedifference?Itisamystery.Butevenonthosedays
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whenyoucatchnofish,beingoutonthewatercanstillbeaveryrelaxing,meditativetime.Thesamecanbe
trueforphotographers.Whenyoucomebackfromadaywithoutmany,orevenany,shotsdonotdespair.It
wasnottimewasted.Wecanlearnasmuchfromwhatwedidnotseeaswhatwedid.Whatwasitaboutthe
daythatmadeitunsuccessful?Reflectonwhatyousawandwhyyouchosenottotakeanypictures.Isyour
eyebecomingmorepractised?Areyoubecomingmorediscerning?Areyoubecomingmoredemandingof
yourselfandyourphotography?Ifso,why?Thinkaboutwhetherbeingsodemandingisapositive.Areyou
actuallypassingupgoodphotos?Haveyoubecomejadedaboutthelocation?Areyoutoousedtoyour
surroundings?Areyoualwaysgoingtoyourfavoritelocationatthesametimeofdayandwouldchangingthe
timingbebetter?Mightitbebettertotrysomewherenewand,byyou,unexplored?Toseedifferentthingsand
differentpeople,togetoutofyourcomfortzone,thentocomebacktoyourfavoriteplacewithafreshened
outlook.
Youmaybereadingandthinkingtoyourself,hesaskingalotofquestionsbuthesnotgivinganyanswers.
Youareright,Imnot.Icannotanswerthesequestionsforanyonebutmyself.Youhavetofindtheanswersfor
yourselftoobecausetheanswersareentirelypersonal.AsYodamightsay,Answernot,Ido,butquestion,
yes.ThereisanareaofTorontothatIshootinoftencalledKensingtonMarket.Now,Torontoisnotagreatcity
forstreetphotographytobeginwithfewCanadiancitiesaretruthbetold,butKensingtonisoneofthebetter
areas.Thereason,Ithink,thatCanadagenerallyisnotthatgreatforstreetphotographyisthatitistoonice.It
istoosterileandtoostaid.MontrealandQuebecCityaremuchbetterbecausethosecitieshaveamuchmore
Europeanfeel.Thereallygoodplacesforstreetphotographythougharethosethatarestillalittledirty,alittle
gritty,stillhaveabitofanunderlyingseaminesscreepingthrough.Placesthathavegreathistory.Mostof
TorontoisnotlikethatbutKensingtonisoneofthoseareasthatstillhassomeofthatfeel.Despitethat,Ihave
hadtomoveawayfromtheneighbourhoodandgotootherareasofthecitybecauseIwasbecomingtoused
toKensington.Everythinglookedthesame.Iwasntfindingitheldthesameappealitoncedid.Aftermoving
awayfromtheareaforawhile,thencomingback,Isawitwitharenewedvisionandwasabletostartseeing
interestingthingsagain.Itisnotsomuchthelocationasus.Wearetheoneswhobecomestaleandjaded,
notthelocation.
Onethingboththegoodandbaddayhaveincommonispatience.Youmustbepatientandwaitforthepicture
tohappen.Waitforthelight.Waitforthesubject.Waitfortheconfluenceofthelightandthesubjectinthe
properarrangement.
Thepicturesinbelowillustratetheideaofsmalldifferencesandpatience.Theyoungermanwaslistening
intentlytotheoldergentleman.Itwasaninterestingstudyofgenerations.Butthen,theoldergentleman
bowedhisheadslightlyandtheyoungermanleanedintolistenevenmoreclosely.Thatwasthepicture.That
wasthekeeper.

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Gatheringwisdom

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Tradingknowledge.Leaningintolistenmorecarefullymakestheshot

Thisexerciseinpatiencetookonlyamatterofsecondstoplayout.Othertimesitcantakemuchlonger.
Perhapsminutes,perhapshours.Perhapsmonthsoryears.
DundasSquareinTorontoisalively,vibrantsetting.Theactualsquareissurroundedbybuildingswithlarge,
electronicbillboards.ItisreminiscentofaminiatureTimesSquareinNewYorkCity.Itcanalsobethe
proverbialtargetrichenvironmentforthestreetphotographerbothduringthedayandatnight.
OnthisparticularSaturdaymorning,amanwasstandingwithhisdognearastreetcorner.Thedogwasyoung
andthemanheldtheleashveryloosely.Thedogwascompletelyfocusedonitsowner.Theownerwas
engagedinconversationandwasnotoutwardlypayingattentiontothedog,althoughImconfidentheknew
justwhatthedogwasdoing.Iwasstruckbytheraptattentionthedogwasgivingitsowner.Inanenvironment
likethis,mostdogswouldbeverydistracted,minecertainlywould.Sometothepointofbeinguncontrollable.
Thiswasobviouslyawelltrainedyoungdogbutalsothebondbetweenitandtheownerwasincrediblystrong.
AsIwatchedandlooked,thetwowerestandingonalargesidewalkblock.Largeenoughthatotherpeople
couldalsowalkonthesameblock,butnoonedid.Itwasalmostasiftherewasaforcefieldkeepingother
peopleoutofthesphereofthesetwo,sostrongwastheirconnection.Iwaitedforseveralminuteswithmy
cameraready.Thenmyshotappeared.Awomanwaswalkingpastfromlefttorightandwasjustoutsidethe
edgeoftheprotectedzone.Atthesametime,anothermanwalkedbyonananglefromrighttoleftandover
thecornerofthearea,butdidnotsteprightintothesidewalkblock,almostasthoughhewaspurposely
avoidingenteringtheirspaceorwaspreventedfromenteringtheirspace.Thatwasthepicture.
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Devotion

Doesthisideaofthedecisivemomentmeanthatopportunitiesforgoodpicturesarerare?Orthatthereisonly
onepossibleshotinagivensituation?No,absolutelynot.Particularlyinanenvironmentwherethereisheavy
activitytheremaybemultiplemomentseveninashortspaceoftime.Continuingtolookandworkthearea,
usingdifferentangles,differentdistancestosubjects,differentlightingpatternsmaywellgenerateothergood
photos.Whenyougetallofthephotosintooneplacetoreview,youmayfindthatwhatyouthoughtwasyour
bestdecisivemomentwas,inactuality,not.
Somestreetphotographersspeakwithdisdainattheideaofworkingascene.Theylikenittothesprayn
prayapproachtophotography.Thisisthecynicismandconceitthatmayphotographers,particularlystreet
photographers,feel.Theironeinterpretationistheonlytrueinterpretation.Itisnothingofthesort.Thereis
rarelyjustoneshottobehad,oneangle,oneaction,asingleinteractionoflightandsubject.Bycontinuingto
lookatwhatishappening,bywalkingaroundtheareaandoursubject,wecanoftenseeotherthings
happeningthatwemissedfromthefirstapproach.Thosewhodisagreewiththeideaofworkingascenewill
say,butthosearethingsyouwouldhaveseenintheinitialwalkaroundandyouchosethebestframingafter
thatevaluation.Thismindsetalmostpresupposesthattheworldstandsstillwhilewetakeourpicture.That
timestopsforus,thenstartsupagainafterwepresstheshutter.Ofcourse,suchisnotthecase.Ourmain
subjectmaynothavechanged,butwhatishappeningaroundquitepossiblywill.Continuingtowatchandsee
canoftenleadtoother,equally,ormore,compellingpictures.
DevelopingYourEye
Howdoyouknowwhenthatmomentisorwhetheryouhaveagoodpictureinfrontofyou?
Sometimesitwilljustbeveryobvious.Youwillseesomethingunfoldinginfrontofyouandyouwilljustinnately
knowthatthereisagoodphotoabouttohappen.Othertimesitisnotsosimple.Thisisoneofthereasons
streetphotographycanbesofrustrating.Youcannotforceagoodpicture.Unlikeinacontrolledspace,such
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asthestudio,whereyoucandeterminethelightingandsubjectplacement,cameraangleandtheexact
camerasettingsfortheperfectresult,inthestreetyouhavetowaitfortheopportunitytopresentitself.
Ifyourenotscaredyouregonnaloseit,itaintthatgreatapicture.
JayMaisel
Thatishowyouknow.Therewillbetimeswhenyouareoutshootingthatyouwillbeangry,orfrustrated,with
yourselfformissingashot.Youwillbeworryingthatyouwillnotbeabletoreactquicklyenoughtocapturea
sceneasyouseeitunfoldinginfrontofyou.Atothertimes,youwillbesomewhat,orcompletely,indifferentto
theshot.Youbringthecameraupandhesitate.YouthinktoyourselfwhyamItakingthispicture?,oristhis
reallythatinteresting?Inthosesituationswhereyouareunhappythatyoumissedtheshotorareworriedthat
youwillmissit,thatiswhenyoulikelyhaveagoodpicture.
Onewayofhelpingtodevelopyoureyeistosetupprojectsforyourself.Itdoesnotevenhavetobeaproject
relatedtostreetphotography.Itcanbesomethingentirelydifferent.Idothisregularly.Imaygooutwithan
ideatocapturetexture,orcontrast.Iwillnotjustdothisonetime,butrepeattheexerciseondifferentdays
underdifferentconditionsandindifferentlocations.Whenassigningthesetypesofprojectstoyourself,tryto
thinknotjustoftheobviousinterpretationbutalsothelessobvious.Contrast,forexample,hastheobvious
interpretationoflightanddark.Itcanalsomeanlargeandsmall,tallandshort.Howmanydifferentwayscan
youthinkofcontrast?Gooutandtrytofindpicturesthatfitallofyourinterpretationsoftheidea.Oranyother
ideathatyoucancomeupwith.Perhapsyouwillpickacolortofocuson.Maybeyouwilllookforpeople
pointing.Itmightbepeoplereadingbooksactualpaperbooksatacaf.Makeitsomethingthatisoutof
yourregularroutineandsomethingthatwillbeabitdifficulttofind.Believeme,findingpeoplereadingactual
bookstodayisdifficult.

Texture
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Contrast

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ItwasdirectlyasaresultofthesetypesofselfprojectsthatonedayIsawapicturethatcouldnotbepassed
up.IwaswalkingalongastreetintheChinatownareaofToronto,lookingaroundforsomethinginteresting
whenasmallpatchofredcaughtmyeyeonabuildingjustabovethesidewalk.Theplastercoatingonthewall
hadchippedawayandrevealedaredundercoating.Thewaytheplasterhadchippedawaymadeitlookas
thoughthewallwassmiling.Cracksintheconcretegavetheappearanceoflips.Ihappenedtobeoutwitha
friend,afellowstreetphotographer,andhedidnotseewhatIsawatfirst.Igotdownonthegroundwithmy
cameraandpeoplewalkingbywereperplexedatwhyIwasphotographingthewall.Yetitwascompletely
obvioustome.ThisisaphotoIknowIwouldnothaveseenayearortwoearlierbecauseIhadnottakenthe
timetotrainmyeye.Today,thisphotoisnotpossiblebecausetheplastercoatingonthewallhascontinuedto
chipawayandthesmileisgone.

EvensomeofthebuildingssmileinToronto.AserendipitouscrackinginthewallcoatingofabuildingonSpadinaAvenuein
Chinatown.

AsIwasoutonadifferentdaywiththeideaoftextureandcontrastinmind,wanderingaroundsomeback
alleysinToronto,Icameuponagaragewithwonderfuloldwoodandarustedlock.Perfect!ExactlywhatIwas
lookingfor.Iknewthecamerawouldbringoutsomeofthecolorinthewoodthatwasnotentirelyvisibletothe
eye.Therustandpeelingpaintwereterrific.Buttherewassomethingelsetoo.AsIstartedtotakephotosI
noticedthelock.Thepadlockwasinplace.Itlookedlikethedoorwaslocked.ThenIrealizedtherewasno
hasp.Thedoorwasnotlockedatall.Itwasanillusion.Onceagain,thisisnotsomethingIwouldhavenoticed
hadInotworkedtotrainmyeye.Perhapsotherpeoplewouldnoticeitimmediately.Weallseethings
differently.Andsomearemoreperceptivethanothers.NooneIhaveshownthisphototohasnoticedthe
incongruityhowever,untilImentionittothem.

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Locked?

Thereasonforthisisquitesimpleandithastodowiththewayourbrainprocessesthingswelookat.Wesee
whatweexpecttosee.Weseeapadlockhangingonadoorandweexpectthatthedoorislocked.Youreada
sentenceandyoudontcatchamisspelledword.Youareglancingoverthesentencequicklyandyouexpectto
seetheworldspelledcorrectlysothatiswhatyousee.Onlyoncloserinspectiondoyouseethatthewordisnt
right.Youmayhaveplayedthosevisualgameswhereyouhavetofindtheoddcharacterinamatrixofother
likecharacters.Itcanbedifficultbecauseweseewhatweexpecttosee.Wehaveseenrowafterrowofthe
samecharactersoeventheoddcharacterdoesnotstandoutbecauseweexpectittobethesame.Youmay
passthesamelocationonthewaytoworkeverydaythen,oneday,younoticesomethingdifferent.Askinga
fellowcommuterorthelocalcoffeesshopownerhowlongthatnewthinghasbeentheretheansweris,almost
inevitably,Oh,fourorfivemonthsnow.Itisthedifferencebetweenlookingandactuallyseeing.Asstreet
photographers,weneedtotrainourselvestosee.Alsotounderstandthattheunexpectedcanmakefora
goodphoto.
Thereisanotheraspectofthistoconsideraswell.BacktoCapasideaofhowcloseyouaretoyoursubject,
understandingyourenvironmentcanhelpyouseetheunexpectedandtoseewhatothersmaynot.The
garagethelockwashangingonwasoldanddilapidated.Itwasinalessthanentirelydesirableareaofthe
city.Knowingthesethings,understandingtheenvironment,itmakesabitmoresensethatlocksmaybe
brokenorpartsmissing.
Whatdoyouseethatothersdonot?Visionistheartofseeingwhatisinvisibletoothers.
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ThatquoteisoftenattributedtoJonathanSwift,althoughitcantbedeterminedwithcompletecertainty.At
leastIcouldnotdetermineitwithcompletecertainty.Itisusefulstillinmakingthepointthat,asphotographers,
oneofthethingsweneedtobegoodatisseeingwhatothersdonotandthencapturingthatthingsothat
otherscanseeittoo.Wewillnotalwaysbesuccessful.Doesthismeanthattheimagehastostandonitsown
withnoexplanation?No.Ifindthatlineofthinkingtobefartoorestrictive.Illexplainwhylaterintheseries.
Theheartoftheissuehowever,isthatwe,asstreetphotographers,aretryingtomakethemundane
interesting.Wearelikethetrufflesniffingpigs(nowmorelikelydogs)tryingtorootoutthattastygemfromall
theothersurroundingdetritus.
Asphotographers,wehaveapractisedeye.Weseethingsthatotherpeopledonot.Itispartofthedifference
betweenaphotographandasnapshotifwewanttobeabitsnobbish.Itistruethough.Wegoarounddoing
ourthingandwelookbutwedonotsee.
OnonedayinDundasSquareinToronto,thisfellowwasdressedupasNapoleonwalkingaroundthearea.At
onepointhewasstandingjusttothesideofaqueuewaitingtoboardatouristbus.Therewereadozen
peoplewithineightto10feetofhimandonlyonepersonnoticedhimatall.Andevenshedidnotlookthat
perplexed.Now,Iwanttoassureyouthatpeoplewalkingaroundinperiodcostumeisnotaregularoccurrence
soitisnotreallyamatterofbeingusedtoit.Andtheseweretouristssoevenifitwerenormaltolocals,it
wouldnotbetothem.IcallitLifesOblivion.

LifesOblivion

Bytheway,didyounoticethatIusedworldinsteadofwordearlier?
Developingyoureyeinthiswayandtryingtothinkofasmanydifferentwaystoconceiveaparticularconcept
willhelpyouwhenyouaredoingyourstreetphotography.Youwillnothavetoactivelylookforpictures,they

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willrevealthemselvestoyouandyouwillbeawareoftheminnately.Whenthatstartshappening,youknow
youarereallyintothescene.
TheImportanceofFramingandCameraSettings
Timingplaysaveryimportantpartinasuccessfulphoto.Asdoeslight.Compositionandexposurearealso
veryimportantinhowthepictureisperceivedbyviewers.AndwhenIspeakofexposure,Iamnottalking
aboutthetechnicallycorrectexposure.Iamtalkingabouttheuseofshutterspeedandaperturetoalterthe
appearanceofaphotograph.
CompositionandFraming
Therearemanywellknownguidelinesforcompositioninart.TheRuleofThirds,leadinglines,Scurves,
vanishingpointarebutafewofthemorecommon.Sometimesyouarenotabletogetaperfectcomposition
becauseyouneedtoreactsoquicklythatframinguptheshottofollowatechnicallycorrectcompositional
guidelineisnotpossible.Dontworry.Ifthepictureiscompellingenoughthelackofperfectcompositionwillbe
lessimportant.Thatisnottosayyoushouldignoretheguidelinesofgooddesignentirely.Usethemwhenyou
can.Whenyouhavethetimetosetuptheshot.Whenyouarewaitingforthatrightmomentwiththelight,
whenyouarewaitingfortherightpositioningofsubjectsintheframe.Atthosetimesyoucanandshouldwork
tocreateaspleasingacompositionaspossible.Whenyoudonothavetheluxuryoftime,youcanworryabout
itless.
Compositionisnottheonlyelementofframingthatplaysintohowaviewerperceivesyourpicture.Whatyou
decidetoleaveinor,moreimportantly,leaveoutcanplayanevenmoreimportantrole.Wewilldiscussthis
somemorewhenwetalkabouteditinginalaterchapter.Fornowhowever,wearegoingbacktotheconstruct
ofcontextandreality.Howyouframeyourphoto,howyoucropincamera,whatelementsyouleaveoutor
includecandramaticallychangethewaytheviewerthinksofanimage.
Goingbacktothephotoofthedoganditsowner,ifIhadcroppedthatmuchtightertoconcentrateonjustthe
dogandtheman,itwouldnotelicitthesamefeeling.Itwouldsimplylooklikeadogstaringupatitsowner.In
thecaseoftheversioninFigure29,Ihavecroppedittoaverytechnicallycorrectframing.UsingtheRuleof
Thirds,Ivecroppedinfromtherighttoputthemanontherightverticalthirdsline.Ivecroppedupfromthe
bottomandinfromthelefttoputthedogseyeontheupperleftintersectionpointwiththeleftverticalrunning
downthroughitsshoulder.Thecompositionistechnicallysound,butitisnotthesamepictureanddoesnot
tellremotelythesamestory.Nowitisjustadoglookingupatitsowner.Technicalaccuracydoesnot
automaticallycorrelatetoaestheticappeal.

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Themoretechnicallycorrectcompositionisalesscompellingphoto

Depthoffield,ordepthoffocus,playsaroleinperceptionofapicturetoo.Torefresh,depthoffieldisa
measureofhowmuchofaphotoisconsideredtobeinfocus.Acceptablysharpisthegenerallyusedterm.
Thedepthoffieldchosencanbeintegraltohowaphotoisviewedandthemessageitconveys.
Byisolatingthesubjectthroughshallowdepthoffield,weareovertlytellingtheviewerthatthisisthesubject,
thisiswhatIwantyoutosee,thisiswhereIwantyoutofocusyourattention.Wearetakingattentionaway
fromwhatelseisaroundthesubject.Whilefocusingtheviewersattentionexactlywheredesired,ashallow
depthoffieldalsoremovesorminimizescontext.Therearetimeswhenthataddedcontextisnotnecessary
andmaydomoretodetractfromthestory.Arguably,inmostcases,thatcontextisnecessaryandimportantto
thephotoandtheviewersimpressionofwhatishappeningtoandaroundthesubject.

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Extensivedepthoffield

Shallowdepthoffield

Choiceofshutterspeedcanalsoaltertheintentandperceptionofaphoto.Weknowthatfastershutter
speedsstopmovement.Wealsoknowthatslowershutterspeedsinducesomemeasureofblurinmoving
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objects.
Slowshutterspeedsusedtocreateblurcanprovideasenseoffreneticismaroundasubjectthatisstilland
unmoving.Thesenseisthattheworldispassingthesubjectby,thatheisunableorunwillingtokeepup.
Freezingmotionwithafastshutterspeedcanhavetheoppositeeffect.Itgivestheviewerasensethatthings
are,perhaps,movinginslowmotionaroundoursubject.Theinferenceisthatthesubjectisatonewiththe
surroundings.Weareassumingherethatthesubjectisstill.Ifthesubjectismoving,theslowershutterspeed
willblurherandothersmovingaroundher.Hereagainwegetthesensethatsheisinsyncwithwhatis
happeninginherenvironment.Or,ifoursubjectismovingfasterthanwhathishappeningaroundher,asense
ofexcitementisconveyed.Thetakeawayfortheviewerisdifferent,onceagain.Howmovementisrenderedin
thephotoeffectshowthecontextofthephotoisperceived.
Youcanseethatnotonlythetiming,lightandcompositioneffecttheviewersimpressionofthestoryyouare
tryingtoconveybutalsothecamerasettingsthatdeterminehowmuchofthesceneweseeandhowsharply
weseethosepartscanalsoimpactthemessage.Makeevenanunintendedmistakeintheseaspectsofthe
photoandwhattheviewerseesmaybecompletelydifferentfromwhatyouwishthemtoseeandthestoryyou
aretryingtoconvey.Thisisthemessageandintentofthemessageratherthanthepuretechnicalsettingson
thecamera.Youneedtoknowwhatmessageorintentyouaretryingtoconveytoyourviewer.Withoutthat,
wearemostlikelybacktoAdamsideaoftherebeingnothingworsethanasharppictureofafuzzyconcept.
Thesearetechnicalmatters,yes,butalsoaestheticand,moreimportantly,determinehowyourmessagewill
bereceivedbytheviewerandhowsuccessfulthatmessagewillbe,howconvincedofyourargumentyour
viewerwillbe.Thatisfarmoreimportantthanthepurelytechnicalissuesofhowmuchdepthoffielda
particularlensgivesyouatacertainaperturewithaspecificdistancetoyoursubject.
TheStreetAesthetic
Artisticphotographyisverydifferentfromstreetphotography.Commercialphotographyisverydifferentfrom
streetphotography.Thatisnottosaythatstreetphotographyisnotconsideredart.Itmostdefinitelycanbe.
WhenIspeakofartisticphotographyIamreferringtothingslikelandscape,ornature,orwildlifephotography.
BycommercialphotographyIamthinkingofproductphotography,architectural,studioportraitureandsimilar
typesofwork.
Themaindifferenceisinthecontroloflightortheabilitytowaitforthelight.Landscapeandnature
photographerswillwaithours,sometimesdaysforthelighttobejustrightontheirdesiredscene.Theywill
returntothesameplaceyearafteryearinsearchofthatperfectlight.Commercialphotographersoftenhave
theabilitytoverytightlycontrolthelighttheyuseontheirsubjects.Sometimeswithstreetphotographywecan
bepatientandwaitforthatperfectcomingtogetheroflight,shadowandsubjectmatter.Othertimes,wehave
totakethelightingthatexistswhenthesubjectmatterisverycompelling.Thatdifferencemeansthatthestreet
aestheticisoftendifferent.Wemayhaveoverexposedorblankareasofsky.Theremaybedarksectionsof
blockedupshadows.Normallythesewoulddetractfromthepictureanditwouldgettossedinthedeletebin.
Notnecessarilysowithstreetphotography.Wecanaccept,andlivewith,lessthanperfectexposureifthe
subjectmatteriscompellingenough.Ifthatsubjectmatterissuchthatitdemandsourattentionasaviewer
thentheotherfaultsthatmayexistwillbelessevidentandnotmatter.
Asidefromexposure,thereareothersinsofphotographythatmatterlessinstreetphotographythanother
forms.Asphotographerswearetaughtabouthowtocropwhentakingpicturesofpeople.Dontcutoffthe
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verytopofthehead.Dontcutoffthetipsoffingersortoes.Croplimbsbetweenjoints,notatajoint.Thisisall
fineandgoodwhenyouhavethetimetogeteverythingjustso.Andwithstreetportraiture,youdo.Withstreet
photography,youmaynot.Andthatisallright.Aslongastherestoftheimageisstrongenough,thesesmall
errorsarenotgoingtoimpacttheoverallviewerexperience.Butthepicturehastostandonitsown.
Otherwise,thosesmallflawswillbecomeevidentandbegintodetractfromthestoryyouaretryingtotell.If
yourviewerispayingmoreattentiontoflawsortechnicalinaccuracies,yourimageisnotstrongenoughand
youarenotbeingasuccessfulstoryteller.Now,thatsaid,thereisacohortofthephotographiccommunitywho
willalwayslookforeventhemostminutetechnicalflawandconsideranyimagethatislessthantechnically
perfecttobeanunsuccessfulphoto.Theywill,inalllikelihood,remainunconvincedofthevalidityofsucha
photonotmatterwhatargumentismade.
GroundhogDay
IfyouhaveseenthisBillMurraymovie,youknowthatheisforcedtolivethesamedayoverandovertillhe
getsitright.Wecandothatasstreetphotographerstoo.
InotedabovetheBressonquoteoflifebeingonce,forever.Whileitistruethateachmomenthappensonly
once,itisalsotruethatsimilarmomentscanhappenoverthecourseoftimeandoneofthosesimilar
momentsmaybebetterthantheoriginal.
ThedoormanatthistheatreinTorontowasopeningdoorsforpatronscomingtoseeamatine.Hedoesnot
necessarilyknowhowever,who,ofthemanypedestrians,isaticketholder,soheopensthedoorforsome
peoplewhoarenotcomingtoseetheperformance.Asheopenedandheldthedoorawomanwalkedby
quicklyandIwasonlyabletocatchherasshewasleavingtheframe.Itsagoodidea,butnotagoodphoto.
Theblurofhermovementisgood.Theblanklookonthedoormansfaceisgood.Butbecausemytwo
subjectsareinshade,theshutterspeedwasabitslow.Ihavemovementwhichisevidentonthedoorman
whentheshotiszoomedintoabit.Inaddition,thewomanpassingbyisalittletoofaroutoftheframe.Idlike
hertobebacktotherightjustabit.Whattodo?Icontinuetogobacktothisspotandlookforthebetter
versionofthisshot.Ihavenotgotityet,butIwill.

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Notquitethere

SomeofthepuritanicalbunchIreferencedintheprologuewillobjectandsaythisisnottruestreet
photographybecauseitis,forallintentsandpurposes,staged.Itisnothingofthesort.Itisacandidphotoof
twopeopleinteracting,orrathernotinteracting,inthecourseofdailyevents.Itisasliceoflife.Idogobackto
thelocationatdifferenttimesbutthereisnothingwrongwiththat.Thereisnorulethatsayswecannottryto
getabettershotofsomethingweshotpreviously,thatwecannotwaitforabetterdecisivemoment.What
differencedoesitmakewhetherwewaitafewminutes,afewhours,afewdays,weeks,monthsoryears?
Whatwearelookingforisjusttherightconfluenceoftimeandsubjectmatter.Ifittakesgoingbacktoa
locationmultipletimestotrytofindit,thatisfine.Thefirstmomentofthisshotwasonceandforever.Sois
everyotherinstanceafter.Butlifealsohasafunnywayofrepeatingitselfinsomeways.Groundhogdaycan
workinourfavourifweareopentoit.

TheInterview
ToruTanakaisabusinessmanlivingandworkinginTokyo,Japan.Ajazzsaxophoneplayer,theappealof
streetphotographyforTanakasanissimilartotheappealofjazzmusicthefreeformnatureandexpression
ofboth.Asjazzallowsthemusiciantoexpressaninternalenergy,forTanakasan,streetphotographyallows
himtoshowtheworldtheenergyemittedbyhishomecity.Allofhisphotosarecapturedeitheronhisnightly
walkhomefromwork,oronweekends.Moreofhisphotographycanbeseenonhiswebsite,
torutanakaphotography.com
Thisinterviewhasbeeneditedforclarity.Allphotosareusedwithpermission.Clickontheimagesforlarger
versions.
Howdoyouconceiveof,ordefine,streetphotography?
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Forme,streetphotographyshowsamomenttakenoutoftimeandthepublicspacethroughthefilterofthe
photographerssubjectiveviewpoint.

Whatareyourethicalboundaries?
TakingphotosinthestreetisnotillegalinJapan..Ihaveonlyoncebeenrequestednottotakeapicture.The
reasonwasthatthepersonIwantedtophotographwas,himself,anillegalimmigrant.PersonallyImnot
interestedingoingafterriskysituations,orsceneswheretroubleisinvolved.So,forme,theriskissmall.
Japanisviewedasaveryreverentialculture.Howdoesthatimpactonyourstreetphotography?
ItshardtolookattheculturalimpactbecauseIamapartofthesociety.Mymaininfluencescomefromrecord
albumcoversandadvertisingphotos.Itisthatstyleofphotographythathasthegreatestimpactonme.Some
ofthegreatjazzalbumcovershavebeenparticularlyinfluential.(Ed:forreference,someoftheoldcoverson
BlueNoteRecordsalbums)

Whatareyourthoughtsoncandidvs.noncandidinstreetphotography?
Iprefertophotographlifeasithappens.Becauseofthat,Imnotafanofnoncandidstreetphotography.
Doyoueveraskpermission?Ifso,inwhatsituations?
Withmystreetphotography,Ineveraskpermission.WhenImworkingondocumentaryprojects,Iwillask.
YourTokyoSolitudeseriesistheonlyonethatisincolour.Whycolourforthatone?Whyblackand
whiteforeverythingelse?
Ihaveupdatedsomeofmyothergalleriestoincludecolourphotosnow.Basically,Ilikeblackandwhite
becauseitremovesthechaosofthesceneandconcentratesonthemainsubject.Itremovesdistracting
elements.

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Whatdoyouwanttotellpeople,whatmessagedoyouwanttoconvey,aboutJapanwithyour
photography?
ProvocationisvitalrightnowinJapanesephotography.Tryingtopushboundaries.Ihavebeeninfluencedby
thisconcept.ButIalsochallengemyselftomoveawayfromthisandcreatemyownperspective.Toshow
peoplesomethingunexpectedabouttheJapantheythinktheyknow.
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