He is kinetic. Constantly moving and I suppose thinking. A street photographer and does social documentary. I’d never heard of him and I like him. Shoot less. Don’t waste a shot. Don’t take the shot cause it ‘might’ come out. It won’t. Get close. Get CLOSE. Yes, getting close is intimidating. Part of the reason why I don’t think I could do ‘real’ street photography, although I love street photographers and their work. You gotta get close. You have to be ‘in’ the scene to capture the scene. But, there are tricks. And every street photographer has theirs. John; the 20 degree shift. When you see what you want to capture it, turn away 20 degrees so it doesn’t look like you’re photographing them. Pretend you’re looking somewhere else. Pre-focus on something at the same distance and then get your shot. And then it’s all about practice. Practice. Everyday you need to be shooting. Everyday I need to be shooting, but I’m not. Instead I’m watching photography documentaries at 4:30 in the morning ’cause I can’t sleep. Seriously though. Anything you want to be great at, you have to work at everyday. I think though that street photography today is a bit of a different beast. Maybe more of a challenge. When Henri Cartier-Bresson was shooting in the ’30s, the camera was a different thing. Still a novelty. Today, we are inundated with cameras. Everyone has one. Everyone is aware of it. Aware of their picture being taking. Excusing themselves past you when you bring your camera up to your face when you’re on a down-town street in Toronto – not wanting to ‘get in the way’. But it is a beautiful art; street photography. The ability to see a scene. To capture disparate elements and compose them in such a way as to tell a story. To document, whether you are truly impartial or whether you are directing the scene – you’ve captured the moment.
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