Street Portrait

<p>Let me see and talk about your street portraits. I need inspiration, thanks.</p>

<p>Here's one from a few years ago at a Veterans Day Parade. I like it but I cannot describe exactly why. I think I like how the background looks like a sound stage and with his jesters hat it just kind of has a crazy theatrical feel to it. One of the teachers in the college darkroom like it as well and offered to purchase a print. I made a 16x20 selenium toned print for him as a gift.</p><div></div>

<p>I can see why its interesting. The background adds to the jester feel. I think, kind of surrreal and the flag grounds it ..well maybe a tad lol. Nice portrait. Is it someone you know, did you talk to him? What were the circumstances for this shot? Thanks.</p>

Catherine, I posted a response to your question on the other thread Jeff referenced...

<p>Here's one idea: Go to a street festival or parade...cameras are everywhere and sort of expected, so it lets you get away with taking shots you might not ordinarily take on a normal street day. </p><div></div>

<p>Thanks Brad I intend to go through that thread again. Daniel , the St Patricks day parade is coming soon..wink wink Thanks. There's a plan.</p>

<p>Jefferson Street Jazz & Blues Festival</p><div></div>

<p>Catherine,<br>

I usually go about it 3 different ways. <br>

<strong>1) I ask for permission</strong><br>

<a title="Lumix LX-5 meets Hollywood (5) by Street Vision L.A., on Flickr" href="http://www.flickr.com/photos/jgredline/5052872416/"><img src="http://farm5.static.flickr.com/4126/5052872416_bf19702727.jpg" alt="Lumix LX-5 meets Hollywood (5)" width="375" height="500" /></a></p>

<p><strong>2) I simply point the camera and say ''smile'' or something to that effect.</strong><br>

<a title="pals by Street Vision L.A., on Flickr" href="http://www.flickr.com/photos/jgredline/5347523155/"><img src="http://farm6.static.flickr.com/5087/5347523155_6cd8daa0a9.jpg" alt="pals" width="500" height="332" /></a></p>

<p><strong>3) I just take it.</strong><br>

<a title="Street Vision (68) by Street Vision L.A., on Flickr" href="http://www.flickr.com/photos/jgredline/4545203558/"><img src="http://farm3.static.flickr.com/2278/4545203558_88cd39c4ac.jpg" alt="Street Vision (68)" width="500" height="418" /></a></p>

<p>It really depends on the situation for me, but it is usually numbers 1 and 2</p>

<p> </p>

<p>Catharine Hall,</p>

<p>You commented on a photo of mine today, I replied, and you did also. I think I added some more, to that comment, which may have escaped you.</p>

<p>Also, for the 'street shooter' who wants some inspiration and tips, especially on how to get over the jitters of approaching people or just being 'seen' taking their photos in public plus 1,000 other tricks of the trade -- throughout my vast commentaries, there's a virtual book or two of tips and tricks, which I've tried to pass on just to Photo.netters (they represent part of five decades of interest in the subject!). </p>

<p>[i've not shot all that time].</p>

<p>I've received much praise for them, and I hope that you have not overlooked them.</p>

<p>You might also have a look through Fred G's portfolio, as he has a different approach and ends up with a different product. Each of us has a different approach (I have a variety, actually) and each approach produces different results, generally.</p>

<p>I note that if I'm carrying one small camera I'll get different reactions on the street than if I'm carrying two or three, and the reaction with two or three cameras, with long or large lenses (especially big, big lens hoods) leads to people giving me permission to do things they would not let 'casual' passersby with cameras do.</p>

<p>Moreover, there is a story under one of my photos posted within the last 24 hours (street portrait) about the subject of 'obtaining subject permission' and actually how to ask for and get 'permission' to exceed isometimes what are seen as the bounds of decency and propriety in dealing with people who are complete strangers, based on a story told (and written about) by inspirational speaker Zig Zigler -- and it does work. </p>

<p>People will do outlandish things for me, when I'm working with a 'wide angle' lens not surreptitiously, sometimes, when I ask for permission politely to exceed the bounds of their 'personal space' to get a good photo.</p>

<p>Also, turn what is a personal quest into a dual quest -- you work your wiles on the subject to enlist them to help you try to create a 'great' photo, and if they truly see that you are capable of sometimes doing something great, they may actually help you create that 'great' photo. </p>

<p>It may require lots of salesmanship, or just time expended, but isn't that what drives life? </p>

<p>Life on the street is not always walk-bys and drive-bys with telephotos and anonymous subjects . . . . though for me that always has played a part. I try to mix the two and may do so from frame to frame, switching from total anonymity to 'new found cohort [subject] in the quest to try to produce a great or memorable photo' with someone who once was a total stranger.'</p>

<p>It's also a good social tool, too. </p>

<p>Sometimes, years later, those strangers may stop you (even hundreds of miles away) and say 'do you remember me, we did x x x x x x together to make y y y y y y photo' expecting total recall from you after you've photographed thousands of intervening subjects. </p>

<p>Astoundingly you actually may remember those few minutes you spent together, and so much more, once there is that cue.</p>

<p>I hope to write a book some day soon bringing together the 'tips and tricks' that I've learned; it would be a shame to waste them as scattered in myriad places in photo and portfolio comments here on Photo.net (and one other place).</p>

<p>(I get lots of congratulatory e-mails and a number of comments of thanks, so they must be worth something, and I occasionally see them quoted in Internet forums, also). </p>

<p>Remember, I started primarily, my second photo career, mostly with a 'normal' lens and a long, sharp, zoom telephoto, from which I could photograph mostly surreptitiously . . . . . and gradually have moved more and more toward wide angle shooting . . . . never abandoning the telephoto shots.</p>

<p>Each photographer has his/her own style, and personalities and attitudes towards strangers have great influence on your ability to interact with strangers. My feeling, long ago, when I was taking photos that I was 'stealing images' led to some supersensitivity that helped me give up the craft; but after seeing the enduring quality of those photos and seeing how much everything else in society intrudes on your every movement (see bank surveillance cameras, financial records, etc.) an occasional lens pointed at an individual's direction now seems inconsequential to me.</p>

<p>I justify my craft/art by comparing the best results with the sometimes intrusiveness that some people feel, and I hold my head of proudly. The greater your results, the more you will be able to hold up your head proudly when you have those day-to-day encounters with 'street' subjects.</p>

<p>And photograph everybody, as practice, friends, neighbors, anybody and everybody who will tolerate you, as you develop your skills, for street photography, even for the most willing subject, may be cut off on a moment's notice by the growing intolerance of your subject, business conditions for that person, family circumstances, and myriad other factors that may cause that person to cause them to cut short the (often impromptu) session.</p>

<p>Even Cartier-Bresson's chance remark quoted fromn an Aunt to Coco Channel caused the fashion doyenne to clam up on him and from them on he couldn't get anything good from her, through his portrait session with her -- you must work quickly and assuredly (or try to), because you never know when the next shot will be your last (and possibly best). Street subjects can walk away at any time and frequently do, often without much or any warning, so you must always be 'at your best' and honed to the highest level and able to work quickly under pressure with many distractions. There is no time for contemplating your navel shooting 'street' or 'street portraits'.<br>

;~))<br>

john</p>

<p>John (Crosley)</p>

<p>Number one takes some nerve but is fair, number 2 is a nice trick and number three could get your lights punched out.. I ll try one and two and three if I think I can get away fast enough. Great shots, number one is awesome.</p>

<p> Martin Z. the mirrored glasses shot is very nice and the sharpness makes the shot.</p>

<p>John I hope to see that book soon. I know how I would feel if someone asked me for a photo and worse, if they just clicked and walked away. Great advice here. I shall take to heart and read this all again. Thanks.</p>

<p>Catherine,<br>

Most of my "street" is shot at parades and events. Most of the time I try for a glance and a node acknowledgement either right before or right after the shot. For this one he walked up and was slowly scanning the room for someone.<br>

DS Meador</p><div></div>

<p>whoa that guy definitely looking for something...happy I am not it :)</p>

<p>sometimes just talking to people can result in a nice relaxed street portrait. Really all the remarks above. <img src="http://farm6.static.flickr.com/5297/5400721798_f345680b42_o.jpg" alt="" /></p>

<p>Cathrine, I did talk to the guy in my picture, but he was sitting exactly as you see him. I was walking along the sidewalk looking for people to photograph when I saw him to my right. I could have easily just taken a shot but I asked him, took the shot when he replied "sure go ahead" and moved on looking for more. I didn't pose him in any way.</p>

<p>Below is perhaps a better example of when I put more thought into things. The examples below were taken this past Veterans Day in Long Beach CA. It was my first time at this parade. The route began and ended in a public park. Located in this park is a memorial to Long Beach residents who died in the Vietnam War. It's circular shaped with a life size helicopter in the center. There are benches along the fence around the memorial. These pictures were taken inside this memorial. You see, when I first entered the memorial to change film I noticed the flags behind one of the benches. I thought it would make a nice backdrop to some portraits of military personal. So I walked back into the park and began asking people who were walking past the memorial if they would mind sitting for a quick portrait. I soon expanded to retired military folks, families, and individuals. I cannot explain why I would choose some people over others, but I tend to work from an area of my subconscious I guess. I took about 15 different sets of various people/groups. Everyone I approached agreed to have their picture taken except for one lady who said she never likes how she looks in pictures. Some people immediately got up and left without a word after I took the picture, others hung around and we talked for a bit. At one point a guy sat down on this bench and I didn't want to tell him to move so I left to take shots elsewhere. When I came back almost an hour later he was still there! Finally he got up to leave but by then the light was falling and with my slow films I was only able to take a few more shots. I probably should add that I offered prints to just about everyone who sat for me, but only one person followed up on that.</p>

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<p>Street portrait from behind. :)<br>

<img src="http://img573.imageshack.us/img573/8105/streeto.jpg" alt="" /></p>

<p>Marc Todd, your day was well worth it. They are beautiful. I guess that's an idea, to give an email address or such so they can be sent a copy if they like. Nice shot Neven, not exactly a portrait but you caught a nice moment.</p>

<p>Catherine, Sometimes I ask. I have found that sometimes when I ask, the person will say yes, but then he or she gets awkward and stiff. Sometimes I prefer to catch something spontaneous. </p><div></div>

<p>Didn't ask</p><div></div>

<p>Again didn't ask</p><div></div>