Day 1: San Francisco… and a lesson in humility
by Stuart
On Monday, my first full day on the west coast, Jeff Fielding and I spent time roaming around San Francisco; talking, eating, and shooting. San Francisco is a great place to photograph and as Jeff says, if you live here, there’s no reason you can’t make good photographs.
Of course, I am quite far from Mooreland, Indiana, so for me at least it’s not literally close to home, but the things I’ve learned photographing my own back yard have helped me try to get past the “trophy” shots (the Golden Gate bridge, Alcatraz Island—a few of which I did take) and move on to photographs that are closer to my personal perception of this place. This photograph is from the end of the day, when we visited the Marin Headlands across the Golden Gate bridge from the city. This area is an interesting place, with landscapes worthy of many other places on the planet. It reminds me a bit of some of the recent shots I’ve seen from Iceland and of course it reinforces the lesson that you don’t have to travel far to find good photographs. This scene is 20 minutes from downtown San Francisco.
We also spent a little time in the morning in Chinatown, photographing the shops and the people there, and just spending time wandering and talking. It’s kind of a tough place to shoot because there’s so much to catch your eye, making it difficult to keep yourself focused on what you’re trying to say. For me, there were two stories here: one about people who have established themselves as merchants and residents; some of whom are second and third generations (and beyond) living here. The sons/grandsons and daughters/granddaughters of the first generation are part of the second story; those who want move on to new and different places. Instead, however, I ended up learning something completely different. Something I didn’t like.
This woman was doing some late afternoon shopping at a small market, along with many other folks who live nearby. She went about her business slowly and deliberately, making me think that she was comfortable here. Why don’t I know? Because, I’m ashamed to say, I dropped into stealth mode here. The market was crowded and I couldn’t think of a good way to approach this woman—or anyone else for that matter—without imposing in their daily lives for something as seemingly insignificant as my need to make a photograph. Believe me when I say I’ve read and taken to heart the lessons about approaching people and establishing a relationship before photographing them, but it wasn’t until I was in this situation—and I didn’t do it—that I really understood the difference. It felt wrong, like I was actually taking something from them, where I could have gotten to know them first and instead given something to both of us. I find myself now guessing at what this woman was doing at the market, beyond the obvious need to buy food, and I’d rather I knew. Not because it would make this blog post more interesting —though it certainly would—but because knowing more about her is just as important as making the photograph.
I wish I had taken the time to try to talk to her and several other people I saw during our walk: the barber sitting in the doorway his tiny shop, cleaning and oiling his clippers while waiting for his next customer; the women in the fortune cookie factory who smiled indulgently while I tried to photograph them as they worked. I have photographs of all of them, but I think I’d rather have their stories; stories that would have been so interesting to know but I couldn’t bring myself to ask. I didn’t start the conversation first and I’m the lesser for it.



Thanks for your honesty, Stuart. One thing that I have learned is that when you ask people for a photograph, they end up “posing” for a shot. I am not usually wanting a posed shot but a more natural shot. I think the key is to getting to know the person well enough for them to be comfortable with you shooting several shots of them, not just a quick “can I take a photo”.
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Stuart-
This challenge is part of why I like shooting in Chinatown and taking visiting photographers there. Yes, it’s flashy and full of sites to photograph, but, for me, it’s the challenge of getting to know the people and the stories there. As we talked about when you were here, I don’t have problems approaching people and asking to photograph them-except in Chinatown-something I desperately want to change.
Excuse me for my lack of formality here, Stuart but this post is one of the many reason why I love you and your work. There is an honesty and integrity in your images–yes, even the landscapes–that reflects who you are as a person.
As for starting the conversation, being an introvert, that’s always the biggest hurdle for me. I am always trying to find a way to take that first step and I’m realizing that for the most part, it doesn’t start with me wanting a photograph.
Another excellent post and one that everyone should read!
Good post Stuart – I appreciate the honesty and openness. I have done the same thing and had the same feeling after I took the shot. It is a lot more effort and takes courage to speak the first words o someone but well worth it – for them and for you.
Thanks
Maureen
I’m gonna defend the image here. Partly because i like it but also because recently i’ve come to think there’s no shame in photographing, as you called it, in stealth mode.
Yes, i agree it’s a kinda weird emotion and you can feel a little lesser for not making an effort to get to know a person first (i found it’s always time to make it up for that) but it’s not always what is needed in final photograph.
I’ve been doing little street photography lately and sth obvious struck me! Part of the whole idea behind it is to record true, untouched moment – totally different from doing storytelling photography. Let’s just say i want to take honest, environmental portrait of someone. Well i’m gonna obviously try to know better, person i want to make the story about. Totally opposite from when i want to make candid photograph. As Chris said, people tend to pose so it wouldn’t work. The difference between those two genres was what was missing in my workflow i guess, especially when i was struggling on the streets. “I’ve read and taken to heart the lessons about approaching people and establishing a relationship before photographing them” too and i would love to go more that way, but i don’t always want that in the frame.
I’m as Sabrina a little introvert so now i’m asking myself first: do i want to take environmental picture, do i want to tell deeper story which would require me to approach & befriend someone, or maybe i want to make a candid one which is more distanced from the subject matter, maybe i DO just want to concentrate on single human moment ?
And as for before mentioned making up – even when in “stealth-mode shooting” i discovered you can always show taken photograph AFTER. I did this recently – i was photographing some lady on main square and when i finally got the frame i felt it was right i showed it and got immediate smile from her. It opened up a whole new level of connection and i got to photograph and talk to her even more btw. Different approach but i probably wouldn’t be ashamed even if i didn’t came to her. Why ? Because it wasn’t about that in the first place ( and maybe a little because well-known street photographers were doing it for years!:)
For me camouflaging photograph or pretending it’s something that is not – that might be the issue, and it might be perceived as some kind of stealing and stripping the subject from the real truth. It can be easily tolerated, even appreciated in landscape photography, but when it comes to human subject it may be quite offending. On the other hand when it comes to art nothing is black & white even black & white photography:)
p.s i’m writing this simply because to me this photograph above feels like the candid one and i gotta say Stuart, i love it the way it is!
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In defense of us extroverts – it is still difficult to approach strangers on the streets :-)
I think there’s a case for both arguments here. For me, as long as I don’t think that I’m exploiting someone’s circumstances then some ‘stealth’ or street type photographs of a person without permission is ok. As someone mentioned earlier you will avoid people posi g for you. However, sometimes getting a person’s story is the better option and will make for a better photograph. I’ve definitely used both techniques.
This is a question I continue to struggle with, and I don’t think the answer is all one way or the other. First of all, Stuart, I really like this image and I don’t think you could have gotten it if the woman was aware of you. Perhaps you would have gotten an equally interesting image, but it wouldn’t have looked like this. I watch the podcast of a photo walk with Jay Maisel and he engages with some people on the street before making their photograph, but he also makes images where the subject is unaware. Both methods seem right when he does them. I’m finally going to see the Henri Cartier Bresson exhibit on Friday, and I expect to be even more conflicted after that. I’m sure that many of his decisive moments involved people who didn’t know he was including them in an image. For me right now, I try to pay attention to my yucky-o-meter. If I feel yucky making the photograph, I walk away feeling like you describe. And I don’t like it.
I believe this concern is a common theme whereever you are. I do take photos on ‘stealth mode’ and yet it always is a struggle for me – to post or not to post.
While it is indeed ideal to request permission to shoot, more often than not, it becomes impossible to do so when you are at the train station; walking on a street where everyone seem to be always rushing somewhere or there is a public event such as parades.
Moreover, I will have to brush up on my people skills to overcome my reticence in going up to people in public never mind that there is language barrier to hurdle…
In the end, most of the street shots I hae taken without permission are ‘shot instinctively’ (to borrow Jeff Fielding’s words) and if ever, posted with reservations…
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