Tag Archives: Black and White Film Photography

PRACTICE

Practice

practice 1practice 2

For millions of years ever since our species first emerged from the darkness of the undeveloped brain and slowly began to think and to imagine and to wonder what was and is, and also what could be, we have been a species of innovation and invention, learning to change things as they are to what they can become to enhance or ease our life of toil and existence.

 

The first ring of stones assembled around the fire, for containment and safety, was seen and valued and copied by others. The first crude scratching of an image in the mud with a pointed stick and there was art for all to marvel at and then employ for the good of the mind, to learn and to discover the great tool of the imagination, which enables us to value and to share and to lend our discoveries and talents to others, and even to pitch in to help our neighbor construct a circle of stones around his campfire.

 

In my time I have been helped by others to learn things that I held important to me. I learned in the fifties from Andy Stoyak how to shrink the stretch out of the twisted metal of a car body with torch, hammer, dolly and a wet rag. In the early seventies I saw the paint jobs of Junior Conway, and from seeing his great skill with sanding block and spray gun I learned what was expected of me as body man and car painter. In my search for photographic meaning and craft I discovered the photographs and words of Henri Cartier-Bresson and knew better what was expected of me and how high the craft of photography could rise.

 

I learned because I was hungry for insight into the things that were important to me. I have advanced slowly up the tall ladder of skill in craft and enlightenment by looking at things and comparing them with mind and wonderment. I enjoy sharing some of what I have learned with others like myself who search for meaning and insight into the creative processes that we use to enrich our lives and the lives of others.

 

I have included here two photographs as examples of my process, or technique, of photographic expression. One photograph shows my friend Richard Thompson practicing. It was made in New Orleans in 1996. I had woken up early and was headed out of the hotel to prowl the streets of the French Quarter with my camera and imagination and when I passed the open door of Richard’s room I came upon this sight of him playing his guitar practicing for a gig that coming evening. Somehow I knew the importance of the scene and quickly made a photograph, which was used later as the cover art for his album called “Small Town Romance.” Just a quick look with my photographic imagination and a snap at 500th of a second and a vision was secured which will last forever, for me and for you and hopefully for all of us to know the importance of practice.

 

The snap I made of one of the finest musicians I have ever heard was done quickly, but with a practiced thought process that I had developed over the years. This process has enabled me to only include the needed elements, factors and details, which were arranged effectively to give the viewer enough visual and aesthetic information to understand the meaning of the scene, my intent in making it and the visual elements I chose to include in the frame of my camera at that instant in time and place.

 

Practice is an important part of my process for making an image which has the power to speak to the viewer and to provide a better and more complete understanding of my intent when making it.

I practice by walking with my camera and with my imagination in full operational mode. It is an intense process that removes me from conscious thought and takes me to a magic place of discovery in my own world of what there is around me and what I can make of it with my camera. My goal is to share my feelings about what I encounter visually by compressing what I see into the narrow confines of the small frame of my camera’s viewfinder. I take all that I visualize and sense and then include what is important for the viewer to see, and what I need to exclude from the frame, that might be a distraction from the other elements in the scene that best describe my feeling and my intention for the image.

 

I learned a long ago that for me there is no “composition” in my photographic process, only facts. Visible facts that when combined effectively in the frame produce a composition automatically. The word composition is a confusing one for me, but visual facts that make up the subject tell me much more about the finished structure of my intended image and the word facts, and the collecting of facts in the viewfinder, help to guide me in the making of an effective composition.

 

I use a Nikon F-3 because the frame in my viewfinder shows me 100% of what I will see in the resulting negative. Nothing more, nothing less. No surprises by something omitted or included that I did not plan on. Very few cameras will show 100% in the viewfinder and that is why I use the F-3 which accurately shows me the subject. I do not crop my photos and that is the reason I need 100% viewfinder coverage. The black lines that surround my photographs are made by enlarging the negative carrier frame in my enlarger to show the clear edge of the negative, which prints black in my resulting photograph. The black lines are always in my mind’s eye when I am framing my photographs.

 

People see me walking and constantly bringing my camera up to my eye and maybe thinking I use a lot of film, but I am only practicing most of the time and not making photographs. Practicing framing and knowing exactly  I hope what the frame sees, as opposed to my eyes. I use very little film, but am always practicing with the framing and focus. Practicing for me is essential. Basketball, Springboard diving, playing music and making photographs means practicing in order to produce a finished product to my best expectations. The image before me is too important to rely on chance to capture with mind and camera. A slow mind and a slow hand mean disaster for me.

 

The second image of the two boys, the dog and the departing figure was made in 1983 in Pasadena California. I use it to demonstrate the accurate framing, focusing and timing that constant practice has allowed me to develop. I have included in the frame what I determined was important for the viewer to see and feel. The figure leaving the frame on the right was an important element for me to include. It gives a mysterious quality to the photograph and is an example of the inclusion of the elements, factors and details that I try to make sure are in all of my photographs because I have always remembered what Henri Cartier-Bresson wrote, “it’s all in the details.”

Posted in Street Photography Tips, Street Photography Workshops Also tagged , , , , |

PARADES

parade 1

This photograph was made before the start of the annual Kingdom Day parade in Los Angeles honoring Dr. Martin Luther King. In my photographs, I try to provide enough information so the viewer can quickly see the various elements, factors and details which were carefully framed in the viewfinder. I also try to establish relationships between the details and the center of interest. The great photographer, Henri Cartier-Bresson has said the power of a photograph depends on the effective use of the details. “It’s all in the details.”

 

If you join me for my DC workshop in May part of the workshop will involve parades. As photographers we will be insiders, not the outsiders that the spectators are.

 

Parades to me have always been silly, dress up, pompous charades, with loud thumping bands and over done hats and cartoonish military style costumes, all color and sequins to make it all pretty. Huge groups marching like toy soldier dreams we might have had, all moving together as one in a machine which is supposed to charge up the people who stand aside and photograph it as they strut by in measured and very strict discipline that reduces each member of the large group to an almost nothing cog in the machine and each face and personality hidden by the outrageous costume.

 

I like to arrive before the parade while the players are arriving and getting ready, instruments just lying around. The humans come out of their hats here and are all pumped and focused on the parade. I am only focused on the humanness of them and I’m occupied with the hope I can catch some of this goodness and this real humanness that is so vital. Vital for me to stumble on and vital for me to comprehend the important significance the event before me holds for a visual message given out to the world to hopefully look at and be better for it. That is why I like the beginning and the end.

 

This for me is more thrilling to find realism about bands that are seen when the bands are not bands yet. Just humans dressing up and I am there with them to feel the intentness and the excitement they and I hold because of being part of it and maybe taking something home from it all.

 

 

 

 

 

Posted in Social Documentary/Street Photography, Street Photography Tips, The Human Condition, Workshops Also tagged , |

WONDERING

WONDERING

Wondering what to wonder about is a wonderful part of my process for making a photograph.

There is the impulsive grab shot or photographic guess and there is the well thought about photograph done very quickly and mostly in the mind.

I have often wondered about what the famous photographers wondered about when making an image. I would love to know what Cartier-Bresson was wondering about when he made his famous image of the man jumping over the puddle behind the train station in Paris in 1932. The work will show what he wondered about. The puddle, an obstacle for man. Man confronting the obstacle life has put in his path and is sailing over the obstacle, for now, but is likely to get his feet wet anyway.

Looking closely, we can see a poster in the background that has a figure which is dancing like the man dancing over the puddle. So many details wondered about and relationships wondered about. The many details that have been included in the frame had been noticed by Bresson and wondered about as to their value to the center of interest, which are the man and his battle with the puddle.

So many factors to wonder about; wondering how much of each detail to show in the frame, and wondering which details to exclude from the frame because they may detract from the center of interest by distracting the viewers eye. Wondering is a form of calculating, a conversation with yourself. Hopefully, it will be a logical and helpful conversation between our everyday polite selves and between our photographer selves.

Some find it difficult to argue with themselves.

How many factors do I wonder about when considering making a photograph? First is wondering about my direction in photography. Where am I going with the camera and my mind? Wondering where I can do the most good for me and for the viewers of my photographs and for photography itself and all the wonderful potential it holds for all of us to wonder about.

I wonder about what the viewer of my image will think or feel. I wonder how I can make the viewer come in and look closer. I constantly wonder about what I should wonder about. More things to wonder about. The famous wondered more. You can see it in their photographs.

I wonder about making a list, (I love lists) of things wondered about. I wonder about a subject that has caught my attention. I wonder if there is something there for me. I wonder about relationships between elements, factors and details that are always present in a subject.

I wonder where I should point the camera, after wondering about the relationship between center of interest and background. I wonder if the back ground is right for the image or wondering if I should move the camera an inch this way or that way, wondering what the effect will be.

Wondering if the viewer will notice that which the photographer feels is important for the viewer to notice. Wondering how to emphasize the center of interest. Wondering what will happen in a second or two and wondering where to place the focus.

Wondering when to press the button. The list will go on and on, the more wondering about wondering the photographer wonders about, the lists grows and grows about things wondered about. Every day the list is wondered about and added to.

Wonder about how you are photographing and where the problem areas are in technique or mind control. Wondering is mind control and needs to be practiced.

The effective street photographer must wonder very quickly to coincide with time and space and feeling and hope, mixed with a loving heart and the intent to create wonderful images for mankind to grow from and cherish with admiration and agreement, for whatever happiness or hope the photograph provides them.

In the photo above, I wondered what a beautiful young girl like her was doing in this awful place, where I photographed for ten years, but only spent ten minutes with her. She was running away from a broken home she said. I wondered about how to photograph her in her plight. I wondered about the details, her belongings, the train moving past. I wondered whether there would be a man in the caboose looking out the window, as they often did, and I waited for the end of the train to appear from behind the steel walls of the bridge that it was crossing. I wondered about the gamble of me waiting for the extra element of a man looking out the window.

I still wonder about her and the ten minutes we spent together forty years ago by the side of the main line tracks in and out of L.A. I wonder if she is well and happy and I wonder if she might someday see the photograph of her that I made.

 

 

 

Posted in Nikon, Social Documentary/Street Photography, Street Photography Tips, The Human Condition

MAGIC NIKON

NIKONS

Happy New Year for me marks 45 years and my love affair with photography. I celebrate by toasting photography itself, knowing that it has steered my life to many special places in my heart that I was unaware even existed. Great moments of exhilaration and euphoria. The camera has given me this license to go seek out rare but significant events, subjects or things that should be seen by all, in order to know us all a little better.

The thrill comes, when I am witnessing greatness before me. Greatness in whatever I can find in a subject, with the idea of showing it to you and all. My photographs must make this communication or they are failures. Much of the excitement within me while photographing comes from knowing that my effort to record these events is a noble effort from me to mankind, and knowing that makes me feel better about myself.

I wish to start the New Year with some FREE advice, learned over the past 45 years.This tip, is for all photographers, but especially the younger photographers or those just starting out and also for street photographers who are frustrated at the tedium and loneliness of a solitary search for something you cannot predict, or even know what the subject will be, and then very little time when the subject presents itself. A brief second or two and it’s all over. Either its gone forever or caught in the confines of a camera frame just as the subject sparkles in its intensity. Win or lose. Mostly lose. Even with this frustration I keep doing it, because I consider street photography to be at the very top of the pyramid of skill and visual sophistication and value. The king. The very most difficult thing I have ever done. One image to tell some great story.

For the frustrated and confused street photographer, I will offer this heartfelt advice. Make a photo essay. The photo essay is a series of several photographs and sequence with the idea of revealing the heart of a subject. The essay allows the photographer more time with the subject. Time is something the street photographer does not have. This extra time is what makes all the difference, but doesn’t make it easier. The extra time allows the photographer to get closer and closer to the subject, both physically and mentally.  Over time, the subject will become more used to the photographer’s presence and the subject will relax and become natural and not afraid of the camera.

The photographer who makes several exposures over a period of time is all warmed up and ready to react when the great image presents itself. Click, but wait, there is more. The essay within an essay. You work away at this thing and something happens that you could not have planned by yourself, but came out of the blue to you like some magic genie.

One such thing happened to me and it turned out to be one of the most wonderful experiences of my life, so moving and magical as it was. (Some of the photos I made that day are at the end of this blog).

This happened 40 years ago, while I was photographing on assignment the American long haul truck driver. I was headed home to the L.A. area after having been on the road for a week, covering the western states and had one more stop to make, Ontario, California, the largest truck stop of them all. If you can make the westward pull over the desert, you might be able to make Ontario for rest and repair. Chugging over the interstate, hauling my ass to the golden state.

Acres of asphalt and a hundred trucks in long rows, lined up like a land rush, or the knights at Agincourt. Big trucks from all over come to roost and let go for awhile.

The drivers in boots and large belts stood around in small groups laughing and impressing their friends by picking on me because I stood out like a sore thumb, with my three cameras swinging around and what the hell are you taking pictures of and you better not take any pictures of me or I….but no problem, they are just guys like me and I have learned from the street to be prepared for this kind of thing and I am able to turn it all around to my advantage without any one getting hurt. Go right up to the guy and in front of his friends ask him if he could do that again because we are looking for people to be in a film and we pay big money…etc. Turn the whole thing around having fun and getting close because the guy had to act cool with me in front of his friends, or they would think him uncool.

I was walking around but really working with mind and eye to find subject. Before I even lift the camera to my eye there has to be at least three things that in some way relate; three relationships that will help my essay on the true center of a trucker and his world, truck and road and alone with self.

Looking down the neat rows of tractors, one stood out like me. The truck was an old Peterbilt cab over and it looked out of place with its cab tilted forward which allowed access to the motor and which usually meant trouble. Breakdown. Getting closer I saw her walk around the front of the cab. Beautiful hair, big hoop earrings and perfume mixed with diesel, she was a female trucker when back in ‘75 there were very few female truckers. This was a man’s world and a man’s job. Hell, it takes a man to hold down one of these mothers. She was broke down stranded and had little hope of getting her load to where it was supposed to go. The tow in had cost her all she had. No money for a mechanic that wants cash and no one to turn to.

The men were confused and stayed away. I saw her greatness, when I saw her hands and how she had raised up the cab and started to look around at what might be the problem with her truck, livelihood and home. A real woman. She rose up against adversity with a smile and those hoop earrings, which never seemed to get in the way and which might have kept the men wondering about her. Was she a truckstop hooker, or was that her rig?

Then magic happened. Several men started walking towards us and the truck. One of the men told me later that they had been curious about what I was photographing and that made them come closer. The camera made them come. The magic Nikon brought them in to where they belonged to help this wonderful woman, their sister. The camera and the act of me photographing her implied some kind of importance and the men sensed it.

I told her story to them and each one left to get tools to help. I watched with tears and I managed to make 22 photographs over the three hours of this magnificent event sent from above for me to watch and be a part of the spectacular celebration of stranger coming with strangers to help strangers with their lives which so helps us all and I was there to record the instants that emotionally moved me the most. I made these photos for mankind to share in love and understanding, with the hope that everyone could have a camera and the desire to photograph his neighbor back and forth together with a rhythm of love and a harmony of vision.

There is my story of the magic Nikon and what happened in ’75 when I found an essay within an essay and I was able to be a small part of greatness in mankind.

I never learned her name, but they fixed her up and got her back on the road and everyone went their separate ways, feeling a little better about themselves for what they had done. Maybe her name was Dorothea.

I use the name in dedication to another wonderful woman who is always with me in spirit. Her name is Dorothea Lange and she was a big, big deal in documentary photography. She also photographed the strength and greatness of mankind, those who were broken down by the side of the road, but who were made more human by her photographs.

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Posted in Nikon, Social Documentary/Street Photography, Street Photography Tips, Street Photography Workshops, The Human Condition Also tagged , , , , , , , |

20 MINUTES, 14 IMAGES

The subject was the Havana harbor early in the morning, with the sun shining through the dark clouds of a passing rain squall. The figures in the foreground were constantly moving which provided me with many opportunities to make photographs that I thought would best describe the situation of the Cubans and their environment, and the frailty of man, or the strength of man in relation to the drama of his existence.

 

I don’t make many exposures with the hope of getting one acceptable image. Each of
the fourteen exposures of the subject area was done with careful thought about
the many variables that made up the subject and how all these factors
influenced the center of interest. The constantly changing scene, offered me
many chances to make different images of the same subject area as it changed in
the brief time that I was there. The rapid fire technique of some photographers
makes me wonder how many of those quickly made exposures were guesses instead
of well thought out attemps to create a relationship between the various
details that are present in the subject area. Guessing scares me, knowing that
I might miss the best instant because I was too busy clicking away without
thinking enough. In forty five years of doing this kind of work, I have learned
how transitory a subject can be and also how important time is and how crucial
it is for me to catch the significance of a situation in one image.
The subject area changed constantly, giving me new opportunities to make images that would show various aspects of the situation. The available lighting was difficult to work with, as it was very early, with the sun shining toward my lens. The dramatic qualities of the sky encouraged me to keep working the subject as it changed over the twenty minutes that I was there.
I chose the vertical format to include what I thought were the important details in the situation before me. The details are very important, in order to give the viewer of my photograph enough information to perceive the subject as I did. (I did, however, make one horizontal image so I could include all of subjects, the motorcycle, the boy, the man with the hat). I had a wide sweeping view of the area in which the main subject, the figures in the water, were located, so I framed the photographs so that unnecessary details were eliminated.

 

 My intent was to show the contrast between man and his environment, which in this case was the water, clouds, ship and the frailty of man and his relationship to his surroundings. Too much of any detail would have diminished the center of interest, which in this case, is the man or men. The focus was placed on the figures in the water. The sky was an important factor, because of its dramatic qualities and the dark and violent nature of the clouds.
Over the course of the twenty minutes, the human drama continued to play out before me and since my presence did not affect the subject, I continued to photograph, leaving my mind open to the possibilities that might present themselves to me. The tension is always there in a situation such as this. Constantly evaluating what is before my lens and trying to imagine what my best vantage point and intent is as it relates to the subject. I managed to stay with the subject for twenty minutes, but the situation did not last, as the sky became less dramatic and the figures became less noticeable as more people moved into the subject area.

 

 

 

 

(I did choose the horizontal format in one image to show the change in the scene and the relationship of the machines – the motorcycle, the boy, the man with the hat and  the ship.)

 

I photographed this subject, both as a photographer and a teacher. I wanted to show how staying in the same place after the first exposure can result in many valuable images. Why stop photographing after the first image has been made?

 

 

 

 

 

Posted in Social Documentary/Street Photography, Street Photography Tips, Street Photography Workshops, The Human Condition, Uncategorized, Workshops Also tagged , , , |

Los Angeles 2001

A man’s fingers hold a photograph that I made and gave to him in 1974 and he has carried it with him for 27 years on his meandering across the country, riding freight trains and living by his wits with just the clothes on his back and my photograph.

What is the value of a photograph to a man who seemingly has nothing?

My documentary project in the Los Angeles freight yards, photographing tramps and runaways, ended after ten years in 1983, but in 2001 I returned to the yards just for old times’ sake. As I walked alongside the mainline tracks into L.A. a voice called out. “Hey Mr. Picture man where you headed?” I remembered the unchanged voice instantly and turned to see my old friend smiling at me. He hugged me hard with one arm and with the other, drew his prized possession from his pocket and held it up for me to see, a horribly mutilated, tattered beat up piece of paper. A photograph I had made and given to him in 1974.

We were two old guys hugging by the tracks, each with tears in his eyes as we looked at the tattered photograph that meant so much to both of us. I thought, how could this be? First of all, how could that little photograph have lasted this long carried in the pocket of a wandering man, a rough and tumble man of the road, super tramp among men. He did what most men cannot do. He could be anywhere with nothing and survive and be happy doing it. For 27 years he had been doing that with my photo there in his pocket, ready to be brought out to make him smile. He had tough times, but my photo brought a smile and some comfort to a poor, huddled and cold man who lived this very dangerous lifestyle and would take it out in good times to show off.

“The road is going to get you” the older men will tell you. The freight train is an iron beast that will beat a man to death in a few hundred miles. A boxcar door can slam shut on your dangled legs when the brakes go on and those big steel wheels take your legs away, leaving you to bleed out by the right-of-way. There is no right of way for the tramp, only for the railroad and “if the railroad don’t get you, a predator tramp will wait and hit you upside the head and you dead.” The road gets most men in five years at the most.

He survived, because he was not an alcoholic and he knew in his mind that he was doing something that most men and women could not do. “Put me down anywhere and I will find scrap metal and copper wire and I will be sitting pretty.” He lives his way along the railroad “right of way” and is at peace with himself.

The greatest and most emotionally moving shock that I ever got was when he pulled out my photograph from his dusty pocket. How could this be? What is the worth of a crumpled photograph of a group of bums sitting around together in a trash filled field hard by the main line tracks? They sat at the end of the line and I took a picture and then gave a print to my friend. He is not even in the picture that he loves so much. No one can ever take this experience away from me, or him, and that makes me cry.

My photographic journey has lead me on a search for truthful photographs that might speak to men of other men and each man to himself, and to make photos that could lead to a better understanding and love for others. Oh yes, the camera and my heart have led me to places where maybe some understanding is needed. The camera records the emotion and personal reactions of us as we make photos with the hope that something of value will result from this collaboration of heart mind and soul. This is my love story of my searching journey of love and understanding through photography, and with it reach out with visual poems that might have the power to sooth and make a smile.

During my ten years in the yards, I made photographs of men and women who I would meet again and again over the years as they passed through on the way to nowhere. Many became friends and I always tried to give them photographs, because I saw them swell with smiles and thanks as they held my photos. No one had ever given them a photo of themselves. They called me the “Picture Man” and I love them so. The photographs that I do on assignment are paid for and then go away, the photographs that are purchased by collectors give me money and pleasure, but the pictures I give away, are mine forever.

My photograph had come back to me and I wanted to make a photograph that would somehow preserve the feeling of that special meeting there by the tracks. . The question for me when making a photograph is always what to include in the frame and why? How much information do I need to show in order for the viewer to understand the situation in the photograph? What is the center of interest and what details should I include that might give more strength and meaning to the center of interest and result in a meaningful photograph. What do I need in the image to tell the story?

In this image the center of interest are his hands and the tattered and torn photograph that he held and that was so dear to him and to me. No face. Including the face would distract from the photograph and the face is not important to the story. There are no names when one is on the road.
The most important requirement for the social documentary photographer is to get in close to the subject. Close in with the camera and close in with understanding and compassion for the subject. Getting in close is always difficult in sensitive situations and the method I used to get close to the tramps is for another blog post.

My workshops are designed to show photographers my technique for getting in close, without disturbing the subject and without getting into trouble. I have worked the streets of the world and have developed methods for avoiding any trouble and also methods for getting out of any trouble. The street can be a dangerous place for the unwary or unprepared photographer. I enjoy sharing my technique and philosophy about this wonderful medium.

Posted in Social Documentary/Street Photography, Street Photography Tips, Street Photography Workshops, The Human Condition Also tagged , , , , |

ELEMENTS, FACTORS AND DETAILS

dorothea lange, social documentary photography, human condition, framingElements, factors and details.

He has been kicked off his land where he has lived for many years, a sad time for him.

I wanted to make a photograph to display the sadness and despondency of the moment. The level that is leaning against the wall, by the door, is not level. The scale that is visible in the lower area is broken as is the record that can just be seen at the very bottom of the photograph. It was a sad coincidence that these items where in the area of my potential photograph. I was lucky that these elements were there.

To make the best use of these items, that add so much to the situation, I decided to use a vertical format which would allow me to include all of these elements, factors and details. That the man is holding some American flags adds to his effectiveness and the irony of the photograph.

Elements, factors and details that can be found in any potential photographic situation must be noticed and included in the frame without distracting from the center of interest. Anyone can do this, but it takes constant practice. The name of the game is the relationships that can be established in the photo because the photographer was aware of the situation and was able to notice and include these important elements which add meaning to the finished photograph.

For this photograph, I used a Nikon F-3 film camera with a 50mm f-2 lens. The F-3, with its 100% viewfinder coverage, allowed me to frame the photograph to include those important elements, facts and details that provide so much more strength to the center of interest.

The excitement and the heartfelt exhilaration that I felt at the time of making this photograph cannot be described in words. The true and valuable purpose of social documentary photography is to show man to man and each man to himself.

Posted in Social Documentary/Street Photography, Street Photography Tips, Street Photography Workshops, The Human Condition Also tagged , , |

FINDING SUBJECT: THE CHALLENGE OF THREE

Subject is everything. Without subject, there can be no photography.

Finding subject can be frustrating. The serious student of street photography knows that subject is everywhere. Subject is lying around outside and it is also inside the photographer’s mind. Everything we have witnessed in life or have learned is tucked away in our subconscious. We use all this accumulated information and emotion, combined with the situation, to build subject from these bits and pieces of life that make up our daily world.

Instead of walking around looking for subject, why not try to build subject from all the various elements, factors and details that are found anywhere? The brain and imagination must be trained and conditioned to notice these elements and details and how to put them together in some logical manner so that the viewer of the photograph is emotionally affected or moved by the image.

In my workshops, we play a Challenge of Three that I designed for photographers to keep in shape. In this challenge, photographers exercise their ability to use my Five F’s System (finding, figuring, framing, focusing and firing) to find and photograph a subject very quickly and quietly. The photographer must include at least three things when building subject. These three things must be either visible in the photograph or must be something that the photographer was thinking when the photo was made. The back ground, the foreground and their relation to the center of interest, must be established visually.

Instead of looking for a whole subject, the photographer can now look for bits and pieces of a subject. A small detail can lead to a powerful photograph when it is combined in the frame with other relevant details and factors. The challenge is to find simple subjects quickly, quietly and effectively, using only the details in the subject area and the photographer’s vivid imagination to arrive at simplicity of expression.

I made these photographs during my recent New York and Chicago workshops that were held in April and May to demonstrate to the students how to build subject and then how I can get in close to photograph the subject without disturbing it with my presence. These photos demonstrate how I used Challenge of Three during the workshops. The Challenge keeps us warmed up, conditioned and sharp, so that when the big event or moment comes along, the photographer will be ready to react instantaneously to the opportunity.

1. The three things in this photograph that I wished to combine are the portrait on the wall, the man and his glasses. The glasses are relevant because it shows that he took them off in order to better see the portrait. All three things go together to create this subject. One of the important parts of this photograph is not visible, the fact that the man has removed his glasses for a better look. All of the factors in a good photograph do not have to be visible in the image

 

 

 

 

 

 

2. The comical nature of the man’s white feet combined with the child walking through the water in the background are included to create an entertaining photograph. I placed the focus on the center of interest, the legs and feet. I included the child in the background  but kept it out of focus so our eye would go to the man’s legs first.

 

 

 

 

 

 

 

 

3. I had noticed the boy doing handstands and waited for this instant, when the boy’s spread legs framed the girl in the background. The timing and framing of this shot were important, as was the placement of the focus on the boy’s legs. I wanted the viewer to see the boy doing a handstand first, then his sister in the background. When photographing strangers at close range, it is important to be careful about not disturbing the subject. A big smile on the photographer’s face always helps smooth the waters of life.

 

 

 

 

 

 

 

4. Two frames are visible in this photo. The window on the right has a man looking forward into life or backwards at life, while the child jumps through another door, or frame, without caring about the past or the future. The third element does not have to be visible; in this case it is the relationship between the child and the man. Darkness, light, black and white and square or rectangular frames were combined to form a visual mood.

 

 

 

 

 

 

 

5. The back of a junkman’s truck can be a special place to build subject from the junk. Diagonal lines, forms balance and light and placing the camera in the most effective spot, turn junk into abstract images that captivate the viewer’s imagination. This is a subject that requires a vivid imagination and a skill in quickly perceiving the details and forms that give the photograph meaning. We can find beauty anywhere, even in the back of a junkman’s truck.

 

 

 

 

 

 

 

6. The mother and child, the boats and the arm gesture of the mother, all add up to a special moment caught by the brain and camera to evoke a warm feeling. I moved in closer to eliminate some distracting elements (other people) in the foreground. Using a vertical formal also eliminated distracting elements. The question is always, what are we selling? What do we need in the frame to sell it and what must we eliminate from the frame that which is distracting to the image.

 

 

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MY FIVE Fs SYSTEM: NUMBER THREE, FRAMING

My “5 Fs” (finding, figuring, framing, focusing and firing) was conceived to help photographers remember the things to consider when photographing a subject in real life situations. If you practice this system it will become your working technique as a street photographer.

The third “F” is FRAMING.

Framing is the action of putting all the elements, factors and details together in a way that gives the center of interest its most strength. Framing is dictated by the second “F”, which is figuring.

Framing really is the act of putting it all together for the finished photograph.

Someone once said that there is no composition, only facts. For me, this concept makes framing much easier. I do not learn much from the word composition and how it applies to an effective photograph. I do not get a mental picture of anything from the word composition. Noticing and using these facts, or details that are always present in the subject area, is a method that I use to arrive at an effective photograph.

The subject can only be framed precisely if the camera’s viewfinder covers 100% of the desired subject, including the effective use of all the details. Many cameras only show about 95%, which means that the image will contain 5% more in the photograph than the photographer intended, so the image must be cropped later in the printing process if using film, or digitally if using a digital camera. I do not like to crop so I try to be very careful framing the shot. That’s why I prefer the Nikon F-3 which shows 100% in the viewfinder.

The object is always to get as close as possible to the center of interest. Getting in close is one of the biggest challenges in social documentary, or street photography. Remember that the photograph is always for others to enjoy and learn from. One way to get in close, but still use important details, is to use only a part of each detail.

For example in the color photo below, I can be seen in action, getting in close and using a vertical format to include the details that I desired in the photograph. I intentionally framed the photo to not show the man’s head, so that I could move closer to the center of interest which is the hand and cane. The boats in the background are out of focus, which places more emphasis on the hand, cane and clothing. john free in action, street photography tips, nikon

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