What makes great photography?

Throughout the history of photography, there have been countless great photographs taken by great photographers who have made such an impact on the art of photography, or the way we perceive the photograph that each time a photographer exhibits a new piece of work, we are enthralled by the way the photograph was taken, or what the photographer has left out by means of artistic intent.

So Saul Leiter for example was one such photographer who photographed the street at differing times of the day in all weathers literally, though his great photographs ere shot in such an abstract way, that the photograph becomes much more interesting.

Dorothea Lange when photographing for the Farm Security Administration, alongside others when she happened upon one Florence Owens Thompson, she photographed her in so many poses using wide angles then opted for a close-up which later became one of the most iconic photographs of the century, Migrant Mother. 

© Dorothea Lange

The portrait depicts a woman during the great depression and her children, though clothed are enduring the hardship of life, not unlike the children of other regions across the globe.

They are hungry and have moved across the dustbowl of America, the crops in the area offer very little. So Lange documented the daily lives of these people, to inform the affluent of the US, what was going on in their own backyard so to speak.

It does make compelling viewing, is it the fact that the children face in towards their mother whom offers support in the warmth of her bosom. Whilst the mother wears an outward appearance that seems to evoke such emotion, a worried face that draws upon the uncertainty of tomorrow.

What does this tell us; it states that on the surface America may seem glamorous yet this is actually a pretentious state, it is the art of deception. Making others think that everything is okay when actually it is not. 

A lot of photographers document the high rollers and the low lives; Garry Winogrand had this subject matter to a tee. Winogrand would pound the streets of America, he roamed so many places, and he would act as though he had a problem with his camera a trick he developed over time.

Does this make him a great photographer well yes and no, just like America he had an art of deception about him.

© Garry Winogrand

This is how he made such photographs, though he did also shoot remarkable stories that would be encapsulated in just one photograph, I would love to go through the immense catalogue of his works. 

However I would just like to share just this one photograph, which for me is unadulterated Garry Winogrand, he had a unique style not seen or practiced today.

Though to be honest one habit which seems to follow Leica® users is that they carry their camera slung around their necks, were as some people like myself will wrap around the wrist and arm which prevents someone trying to steal the camera, and thus your hard worked photographs.  

Another point about Garry Winogrand he is known for stating many points about his own photography,

Photography is not about the thing photographed. It is about how that thing looks photographed.

One photographer who hails from New York who thinks that this statement is ‘bullshit’ is Orville Robertson. Robertson is a co-curator of the committed Contemporary Black Photographers in the Brooklyn Museum.

He also goes on to say that Winogrand wasted a lot of film too, from a photojournalist perspective you want to make the shots count. McCullin would not have wasted film neither would Robert Capa.

© Orville Robertson

You get the shots but you do not shoot without regard to plans or inclination, so you have a greater understanding of the subject. Though when I first started out I was shooting anything really.

You get home and you view your shots and realise that some of them just look like happy snaps, and some do not. Now when I view my images they have improved in subject matter and some actually tell stories. This is what you should aim for when going out to the street.

You want your photographs to have a higher hit rate, so a good way to get into practice is to shoot film, because when I shoot film I limit the subject to may be one or two frames, but try and make those shots count, you want to aim for impact from the shoot.

So you want to have great photographs that will interest the viewer for years to come, you become more attuned to your surroundings, one way of doing this is to get out and try and shoot everyday, and to engage with your subjects.

The photographer Dougie Wallace makes a point of this which is clearly visible when viewing his works, his photographs are outstanding and are so in your face will be great photographs, in years to come he will be seen as one of the great photographers of the twenty-first century.

© James Nachtwey

The spirit of the human condition is captured throughout history by many photographers, some have witnessed the invasion of countries in Europe others elsewhere some have witnessed the horrific events of September 11 2002. James Nachtwey captured some incredible images during and after the event some thirteen years ago.

Some time later the aftermath of the Haitian earthquake, or even Hurricane Katrina would give up several interpretations of great photographs. Even today many aspiring photojournalists travel and document these areas of interest.

So what makes a photograph great the photographer or the moment they have captured? In reality it is the photographer who composes a photograph, though in this digital age everyone owns a phone with a camera, whom may be in the right place at the right time can capture a great photograph (London riots). 

(AP Photo/PA, Lewis Whyld)

Though I do try to influence the moment, if I am caught off guard by persuading the subject to pose a particular way, so as to not look like it was taken in a staged manner.

Sometimes it pays off, sometimes not. Though if you have the confidence to build a rapport with your subject, you never know the outcome could be a great photograph. 

I must admit living in a city also helps, not just because they’re a lot people, and subjects to photograph but I have access to transport links which can take me out of the city and maybe go to another city a couple of hours away or farther.

If you’re feeling adventurous then you could plan a trip may be with a few other photographers or you could attend a photography workshop. Check out noticeboards on photography websites, or the magazines themselves.

Another way of getting involved with other photographers is to approach them if they’re shooting the street, or landscape or whatever they may be capturing at the time. I am always bumping into and socialising with other photographers. 

I always tend to watch them at first to see what they’re photographing you find out quickly if they’re street photographers, or just your run of the mill happy snapper. If they are shooting in an enthusiastic erratic manner, then you can safely bet the photographer is interested in what is happening before their eyes.

Many street photographers will create a montage of people, and interesting stories to create a great photograph. I have found that the Greek photographer Zisis Kardianos shoots definitely for storylines, and layers the photograph with interesting juxtaposition, and geometry the subjects seem to relate to each other somehow.

© Zisis Kardianos

This is how I have tried to inject this manner of shooting into my own style, layering subjects or mirroring certain content, try to look for similarities in hand gestures, colours etc. All these converge into the human element in the photograph.

This may be one of my last posts for a while also, as am back in to University and I am going to be working on a dissertation for a while.

I may pop by soon, until then laters!

Street Photography Techniques

Layering

I posted a subject for street photographer's that all street photographer's should be implementing into their own work, the technique of layering. As the technique should suggest we are not talking photoshop here, we are talking about layering in the photograph, within the frame.

We use subjects at differing points within the frame to do this layering, so for example by using shapes too, such as circles, ovals, lines and triangles we can make points in the photograph 'pop'.

©Susan Sermoneta 2013

We want the viewer to have an interest in the photograph, and we want the photograph to be a photograph not just a picture. Here is a link to a couple of examples I have shot myself in the examples shown on my gallery page, we can see how shapes and lines play an important part in composition.

Here is another photograph which shows how shapes, lines etc can play an enormous part in street photography. In this shot we see how the NYC Photographer Susan Sermoneta has used the imposed constructed linear lines to frame and shape the photograph, with the subject matter being almost entirely in the lower third of the frame. The colour too has played an important part in the photograph the overhead lamp acting as an anchor point forces the viewer to see the person descending the stairwell in the photograph.

Colour

Colour or color depending on which side of the pond you are from, plays an important part in the layering technique street photographer's use today, however before colour was introduced circa early 1930s by Kodak Photographers used monochromatic film, so photographers were careful what they shot and became much more dependent on framing and compositing an image to be able to make a photograph. 

So here is another example of linear photography within street photography not too dissimilar from the  photograph shown above, I have used the linear technique that should make the photograph interesting. 

©David Rothwell Photography 2014

The lines take you the right of the frame, and that is were the main interest lies. This being a monochromatic shot, I have used the framed pictures on the left of the frame to lead you into and around the photograph, the people act as an anchor point to force your eyes back and out of the frame. 

The angle makes the photograph very interesting too, I am shooting from a higher perspective, rather than just a shot from eye level horizon. 

One photographer who I have mentioned before who shoots black & white photography, and uses a particular technique in layering that frames the subjects and makes them 'pop' more effectively. 

Lee Friedlander

A fantastic photographer who developed a very unique style of framing subjects to make his works much more interesting and abstract. His works inspired other photographers including Garry Winogrand

What Friedlander does is to make the photographer become open to suggestion; to interpret the subject and make it his own, and then transcend the medium to make it evolve. Abstract painting had been a movement in the 1930s with surrealist painters like Dali, Picasso and Man Ray.

Lee Friedlander makes the viewer not just look but listen, that is how I perceive his work. The tempo in the composition is often changing, forcing the viewer to move across the frame and learn what is being said, and force you to question what is being conveyed by the photographer.

An exceptional photographer who for the most part enjoyed shooting photographs from the hip, or the car or even a hotel room. Many lessons can be learned form the afore mentioned photographer's their individual styles differ, but the passion for life on the street far outweighs anything shot in the studio.

With Street photography comes the harsh reality that not everyone will like your work, not everyone will understand the message being conveyed or what the photographer wants you to see, so it is important to make your work interesting using various techniques or a combination of those techniques, to do that is view photographer's works at galleries or even better the books they have created themselves.

If you like certain photographer's then take a closer look at their work, how do they frame the works, how do they convey a message, do they use colour? Do they use colour, what shapes, tempo etc.

This is what you should be looking for when viewing other photographer's works, so if you follow photojournalism or street photography, take a closer look at the method they employ.

So if you live in a city have a look what's happening at your local museum or gallery to see what works are currently being exhibited. One thing I almost try to do when shooting street is to keep an eye out for other street photographer's; what are they shooting, etc. I tend to stay away from someone using a telephoto lens such as 55-200mm or 70-300mm this is not what street photography is about.

I have seen some photographer's just using a small compact camera, this I love because it forces you to get in closer. You have to concentrate on framing the subject matter, someone who uses a zoom/telephoto lens just wants to stay away from their subject matter, not get involved and to be honest using that focal length flattens the photograph.

©David Rothwell Photography 2013

It is a bit like being a stalker not very nice at all, using a wide angle forces you to engage with your subject matter, strike up conversation, get in close, they will warm to you.

The example left shows how warming, the subject was she had spotted me, I had actually smiled back and turned around as I passed through them in conversation, I just about face and captured this. The symmetry in the hands is almost identical to her friends in the foreground.

What I like about this photograph is the sudden burst of colour just left of centre, then we have guy just farther left of frame, this is what makes the photograph a little more interesting, he is asking what is going on? This is by all accounts a very tight composition, but that is what street photographers aim for.

Framing

So we have touched on briefly an American photographer who used framing to such an extent to make his work more abstract, more out there. Always be on the look out for the strange coincidences of gestures especially the hands. This sort of brings me on to another point, be mindful of your own hands too. 

When using primes it's easy to suddenly play with the aperture ring, or the focusing ring on the lens. Always be alert to sudden jerky movements for example a person passing by, or bumped into by a woman pushing a pram or a child running into your legs. 

I try to use linear objects to frame my subjects or you could try using people themselves for framing and that way you would also be implementing layering into your work.

©David Rothwell Photography 2014

In this example we can see how the person in the foreground forces your eyes to follow the line through the photograph, even the shopping trolleys in the far right of the frame offer the viewer the direction in which to go.

My only complaint about this is how the subjects are stretched across the frame, for myself personally I would have liked this a lot tighter.

So by that lesson we can focus on crowds to capture, post christmas shopping we don't see many crowds out there.

So be wise in what you capture.

Street Photography

Hello all, it's been a very sunny summer of late, and for once that makes me smile, the light has been truly fantastic. The other day though, I realised when shooting street, they're will be a change as they’re with the seasons in the year, and it will eventually rain! 

Not just that but the days get shorter and the sun gets lower in the sky, so I have a few options continue shooting street, in colour or adapt and make these street shots much more dramatic, you know give the shots a new narrative. 

I have been collating a few shots that will break down into separate genres of activity, these groups became quite interesting so here's a few I put together; 

Jumps people in active positions above the ground captured mid-air.

Sleepers people actually dozing in the street either on street furniture such as benches or parks or doorways. 

© 2013 David Rothwell

© 2013 David Rothwell

Statues juxtaposed with some comedy narrative.

Couples this one is very interesting as when am shooting the street; I have come across couples arguing or making up or in comedy situations.

Out of the ordinary whilst this may seem a strange ask; they're situations that will happen out there, those one in a million chances, however those chances usually take place at 1/1000 of a second. 

I regularly visit London and every time I always attend the Photo Forum it's a fantastic way of meeting like mind photographers/photojournalist. So I get to see these genres 'come to life', I just love the way the informed eye works. 

If you have ever studied books on street photography or street photographers, the first thing that hits you is the narrative in the frame, the composition should normally be a striking point within the frame that makes your eyes wander around the frame. 

In this shot we see that the subject is dozing away in the sun on the stone steps close to signage one states PANDORA.

Could it be Pandora’s Box perhaps?

We also see in the photograph that the subject is in possession of a crutch or aid walker. So how did he arrive here, and was the exertion so tiring that he literally fell asleep on the very spot, we find ourselves? 

So many possibilities for the narrative, could it had been the hospital waiting times?

Now we see that a lot of street shots tell a story, they're not just snap shots of an extraordinary event like some I have posted previously, if they are then they do possess the very aspect of which Henri Cartier-Bresson; adhered to. That is a decisive moment, a truly unique skill set that photographers can and do train their eye to read in any given situation, the likes of Garry Winogrand, Joel Meyerowitz and recently discovered photographer Vivian Maier. 

I study a lot of photographers work and their respective works are always full of new surprises, Meyerowitz himself studied the work of Cartier-Bresson. I too have become accustomed to training my eye to the subjective geometry in architecture but also the composition, and how people play a part in the composition. 

I shot a while ago, people on a beach and you can see the perfect triangle http://www.flickr.com/photos/rothwell172/7884283638/ this is also shot from a higher perspective. 

Sometimes it's not all about eye level or waist/hip level to achieve a desired result, aerial photography has been around since the concept of aviation began its birth, and so too people documented streets from a higher perspective. 

Okay so we can see how people become much more interesting, from a higher perspective, but what about when we get low down and dirty?

In the next example we will look at the street from a much lower angle, lower angle is also a great opportunity to opt for a wider prime lens on your kit to achieve maximum impact in your shot.

I use a very nice Soligor f/2.8 28mm lens which is fantastic and gives a great sense from a lower perspective of actually stating that the photographer is getting physical in their work. 

Low perspective can have interesting results remember you don't have to get low down and dirty you can in-fact look above your height level when something catches your interest too. 

Quite a comical shot, which does leave one asking what? 

These moments I see are relative to my experience in photography, obviously with time they will sharpen, but you get my drift people see and do the strangest acts every day, and just like the current and past masters, so too will my ingenuity and originality in my approach to street photography. 

Earlier I mentioned Henri Cartier-Bresson, when you look at his work you will see emerging patterns in the constructive objective of angles and shapes, and yes I have talked about this before, and no doubt will talk about it again in the future. 

My advice is to get out there and start looking at narrative, let your pictures do the talking, and be more consistent in your approach with subject matter. 

After a while the long awaited and always looked for out of the ordinary moment will happen, when these shots do happen, it can be very rewarding and indeed with the right marketing can be very lucrative, most importantly you will begin to develop your own style. 

I suppose a good starter is colours people seemingly wear similar colours during the year, so possibly you may see people wearing yellow or you may see yellow objects. So in your composition you could try and involve those ideas and implement them in your approach to subject matter. 

Colours 

Another lucrative idea is to purposefully shoot for one colour whilst this idea is not limited to street, looking at the examples it should give your creative thought - process a much needed boost. 

I have a few followers who do just that, in shooting this way you can begin to build up a stock portfolio of images which can be saleable for stock photography. 

Now if that's your bag, then your welcome to it, it can have such a huge return in being so open to all and sundry. 

The only danger is if you do go down that road, just shooting pictures for stock photography, are you going to lack artistic expertise elsewhere? Will you begin to suffer as an artist and become much more commercialised in your overall outcome?

I read other blogs and look for information on other photographers, because in reality it is the only known way of keeping up to speed with changes in current trends etc....

Now on that other blog they have a section were by you can get featured which means if any breaking photographers out there want to get their work out to the masses they can simply sign up for a subscription. 

It's important to liaise with other photographers because it is the best way to learn so get interactive, get pro-active and network.