how do i approach folks for a documentary project?

i would like to know how documentary photographers approach a

person, group, or orginization about documenting them. how do i

convey that i am earnest can be trusted--not just some photographer

off the street? what do they get out of it? thanks for your

insight.

Great questions...I am interested in the answers/suggestions myself.

Mat, for me most of the time it's a matter of empathy. There are no fixed rules to enstabilish a link to a person or group. My experience is that many times getting to know them, spending time together, talk about your ideas, your project and most of all to listen and be able do understand help a lot. In my opinion this helps too to get deeper photographs: the more you know about an issue, a person, a group the more deep you can go and your photographs will show the deeper knowledge you have achieved. Sometimes this takes years! Talking and listening is the key. Try to be accepted and you'll get more spontaneous images too, no masks. But of course this is not alwas true or sometimes you can't do it. Sometimes even a smile can help.

All the best.

Giulio Molfese

That is, indeed, the question. I think it helps to approach people in neutral situations, that is,

churches, parties, events, and street corners, rather than at their front doors. You kind of

have to explain what you're doing, why you're doing it, and what's potentially in it for them.

For example, "I want to show how hard fisherman work, and who knows, maybe my photos

will help improve their lives."

Very simple, you need to be able to honestly answer why you are documenting in order for people to believe that you are earnest and can be trusted. Yes, you could make up a believeable story, but then you are not being earnest and should not be trusted. On a more practical note, it would probably help if you had some supporting documentation for this project, or an example of your past work.

I'm with Kent on this one. Sincerity is the only way. Otherwise you are just taking what you want from them and giving nothing back.

 

- Randy

Good advice above. mat h, you ask, "What do they get out of it?"

 

What's YOUR answer to that question?

There's really only one thing that would convince me as a subject: seeing a portfolio of the photographer's past work. Unless you have that then you <i>are</i> just some photographer off the street. Sincerity only goes so far, and the road to hell is paved with good intentions.

<p>

What people get out of it seems pretty obvious: they get to be a star. They get their face in the papers. They get their story told.

Tell them this: "Hi, I'm going to be doing a photo documentary project, and would like to know if you could volunteer for this project. There's no money in it, but you would be a part of something that could be of historical significance."

 

Take along a documentary portfolio or yours, or an already-published documentary book by you or some other photographer, to show what the project is all about. Most people don't know what it is anyway.

Well you are just some photographer off the street as we all are. Thus like the others have said sincerity will get you far. I'm starting to approach more and more people for pictures and I'm having suprisingly good luck. I come right out and say what I mean. If I like the shirt they are wearing as in a recent shot I tell them. If they are reading a bible as in another recent shot I took I tell them I'm exploring religious themes for my personal work which again is true. I have many prints of street preachers and prayer groups in the park. I'm always taking photography classes in one way or another so I often show my student ID and tell them it's for a school project. This is also true as last semester many of my projects including my final was pulled from my street/doc shooting. I suppose if you are shooting for a magazine or newspaper you can show a press pass or if you have a grant then you might show that but for most of us street work is personal. What I find odd is that many people I approach to photograph seem not to care too much about my motives. Yet my fellow classmates and friends and family who see my finished prints give me the 3rd degree!

Mat, depends on the nature of the group. But I think you'd find a lot of people that wouldn't mind you doing the documentary work simply because they're willing to do you a minor favor- even if nothing is in it for them. If the group is super busy, or doing something criminal, then maybe that won't fly.

My common denominator is trust. I'm at the park across the street almost everyday with

my m2 and my dog. The regulars expect to see me, therefore pay me little attention. If I

get something good I give a 5x7 print in an envelope. If an outsider ask what I'm doing,

someone tells them I'm the photographer who lives across the street and something they

think the know about the prints. The park staff and the beat cop wave. Several pro

shooters shoot bridal work, portfolios etc there, and the amateur landscape and flower

shooters hit it heavy. They are noticed?primarily for all their bad a$$ gear?I doubt they

would get far shoving a camera towards anyone no matter the story.<p>My buddy hung

around a place with a Canon AE-1 clicking away. Finally one of the regulars ask him what

he was shooting. He said he was practicing with the camera until he felt comfortable

enough to put film in it. Big joke! Of course he never told them when he graduated :)<p>

Something about the immersion approach has built my confidence and demeanor. Starting

Friday I'm shooting on the backstretch at the Fall meet of the local race track. Just the

exercise riders, grooms, blacksmiths, hotwalkers and working stiffs. The big lens kiddies

will be on the opposite side of the track with the swells. They eat in clubhouse, I eat at the

track kitchen, my M2, a pocket of film, and admitted reverse snobbery...skip

It helps to look like one of them--not richer, not poorer, not more conservative, not more

liberal. Show up at a church social in grubby jeans or a biker bash in Dockers and you're

already 2/3 sunk.

 

In many cases a quality but well-used camera is better than the latest, brightest and

shiniest, expecially with the poor. It's got to be good enough to command some respect,

but not so good as to scream "rich a$$hole".

Roger brings up a good point. While shooting around Hollywood Blvd recently a guy in a Homer Simpson costume complimented me on my RZ67. Then he complimented me on my sunglasses of all things! "Yeah you got style" said Homer Simpson. I just laughed but so many people think medium format camera are antiques of some kind. That with the waist level finder I find doing street work much easier with it then with a 35mm. You just have to get used to the weight especially after a couple hours of walking around.

i thank all of you very much for sharing your knowledge. such a good variety of solid answers. this will really help with that first step.

<p>Is this a structured organization? If so, they might already have people in place to

deal with such situations. Try to find anybody along the lines of PR (public relations), or

the closest thing to. When I was trying to do photography on the property of a major

corporation, they were more than happy to let me shoot away, provided I signed the

necessary legal documents. A lot of organizations (at least in Ontario, Canada) use

opportunities such as this to fulfill their "community contributions". A lot of corporations

(legally) have to contribute X dollars or resources back to the community in which they

work; having someone use them as a subject not only gives back to the community, but

they get free publicity in the process!

<p>In my experience you can't just show up and say that you want to shoot them. You

have to have a clear plan of what you want to shoot, why, when, and for how long. The

more information you can provide them, the better.

<p>Having your portfolio helps, but isn't necessary. Prior to shooting the people I had

asked permission of had never seen <em>any</em> of my work.

<p>Cheers,<br>Patrick

I mostly advice peopel to start with familiar projects, like you sports club or you

neighbour hood, a local shop ,you work, familie and friends. And from ther

devolop som personal experience and confidence.

 

www.micbach.dk......"photography workshops in Spain"

Like any other endeavor how about being honest about it? I would start with a letter of introduction so that they aren't caught off guard expecting an on-the-spot answer.

 

If it wasn't that serious I go and introduce myself as any businessman and offer some of the final prints as thanks.

 

On documentary, where wide access is necessary, I'd be very professional about it.

Take time to know folks in the enviroment that you want to work in. Heck, buy a cup of coffee and leave the camera in the bag. The patience can result in portaits so honest that they can really capture the viwers interest<div></div>