Trent Parke

So Trent Parke, now this is a very interesting Photographer indeed.


After getting a little tired of making Photographs of the same streets in Sydney Australia. Which to him is deemed a small city. He came to the conclusion he needed to bring out parts of the city and perspectives that it's users don't usually see.

One technique Trent is redound for, is his usage of the harsh Australian Sun light.
The buildings of the city direct the sun into channels that fire through the shadows of the Street.


Parke waits until his subject is right in the middle of the shard of light and shoots.
This gives the subject an almost god-like look to them.

Not only does this method give the amazing high-key effect to the people in the Photographs but it gives them huge drawn out shadows. both parts give so much to the image, It leaves you studying them for twice as long.

Images: http://www.in-public.com/TrentParke

Siegfried Hansen.

It is obvious Siegfried Hansen has a very good sense of humor and a very good understanding of how the Street and people interact. It's as if he almost directs the people to the points of the Street he wants so he can make the perfect picture. Most people would never even see some of these things take place . Never mind have time to get their Camera out and be ready to press the magic button.


'real life is always full of surprises. So you have to be prepared for this kind of moment'

Is something Siegfried once said. I'd definitely agree with this quote. There's no right or wrong time to take your Camera out with you. The problem is, the time you don't take it with you is the time you see the things you want to make into a photograph.


Since 2002, which was when Hansen picked a Camera up as an amateur Photographer. He's been interested in Street Photography.
Previously working in Graphic Design. His understanding of making pictures was already there and ready to be fine-tuned.

You can almost see the connection between the two in some of his work. The image to the left, were he's used a vinyl sticker, on a Window. It looks like two photos used as a composite.
A good understanding of these techniques combined, give him an instant advantage over other Photographers.












Images: http://www.street-photography-hamburg.siegfried-hansen.de/

Self-Evaluation.

My chosen project (as you've probably already guessed) is Street Photography. I needed to show Human interaction and traditional influences.

This was a 35mm film Project. Yes, the old school, open the back and put the little roll in.

Having never picked up a film Camera in my life until this point. I thought it would be a very interesting and challenging task. The outcome of the images relies solely on my skills and ability to work the controls of the Camera.

I decided instead of using the streets I know and use frequently, I'd buy myself a ticket and go on a little adventure to London. This way, there'd be no distractions from people I know and my path would be aimless. Not knowing where the next Street would take me and who the next person would be that I met.

My Weapon of choice was a Praktica MTL50 with a 50mm (f1.8-f22) Prime Lens. My choice of film was Ilford HP5 400asa. I decided on this speed Film because it's a nice starting ground for both indoor and outdoor shooting.

My influence in this project has been the way we use architecture in our streets and city's to direct us in our commutes and day-to-day journeys.

They subconsciously edge us in an almost robotic way.

Much like the way an Ant's Nest is formed into a series of tunnels. Making an order of how the Ant's may or may not move in their daily routine.

It's as if we as humans have made the street into our guardian. Telling us where and which way we're allowed to venture.

I chose these five images because they show the direction of the Street. The lines in the walls,

Floor, banisters, even the tiles and road markings on the floor are giving a reference of direction. By capturing this in my work, it has successfully met the requirements of this project. Not only that but by using the street as my subject and taking a step back from the usual way the public and I use it. I have realized how much an amazing place it is to take five minutes off from the world and be a part of it, rather than just using it as a through-way.

To improve on my work, I need to spend more time on the Street. This would help me develop my knowledge of how the Street works a little better and give me time to find quirky places that have usually been over looked as having artistic potential. I'd like to spend more time using reflections, like the image I've included of the Barber Shop. This style has been famously adopted by Lee Friedlander and gives a very interesting outcome. Forcing the viewer to look deeper into the Photograph and investigate what is real and what is just a reflection.

Prior to my trip to London, I investigated a number of photographers and the styles of their work. This gave me a better insight to the genres of Street Photography and gave me some guidance for my own personal work.

Although I did a bit of work across a plethora of genres. It all came back to the leading lines of the Street and their control over us.

One of the problems I encountered throughout this project was the constantly changing light. Although I'd decided on a 400asa Film, which is a very good all-rounder. The dim lighting in the Subways and alleyways forced me to use a smaller f-stop. Sacrificing my depth of field. It was either that or go even slower on my shutter speed that would potentially give me Camera shake or blur from the people moving.

Another was that the 50mm Lens I'd chose to use was very hard to see through at a higher f-stop. A technique I picked up was to switch to a very small f-stop (wide aperture) to get my focus and then concentrate on adjustment of my f-stop accordingly.

As exciting as it was learning to shoot on film. I found the processing of the Film and creating the photographs even more interesting.

While on my little adventure. All the time I was walking around and taking picture after picture, roll after roll. In the back of my mind I was thinking 'I hope this old Camera actually works'.

To me, the suspense and hope between the time you shoot that first Photograph and when you finally develop the film so you can see the stories you've recorded. That's the exciting part.

The most magical and beautiful part of Film photography has to be the making of the Photograph itself.

I don't care how sceptical about magic you are. Shining light onto a piece of paper and putting it in Acid, to see an image appear before your Eye's. Sounds a bit better than pulling a Rabbit out of a Hat if you ask me.

This project has not only thrown me in at the deep end with Concrete Shoes on, it's also given me the opportunity to view people and the street we live in or on, at a more personal level. Allowing me to take time to find out what it does for us and makes us do. The smells, the architecture.

I feel sorry for anyone that goes all the way through his or her life and not have this experience.

Mr Bruce Gilden

After seeing a short Youtube video of Bruce Gilden, I decided to look into him and his work a little further.
From an early age, he was fascinated by the street. Looking out of the window, and watching the hustle and bustle of the Brooklyn human traffic.

A man who's view on Street Photography is: 'if you can smell the street by looking at the photo it's a street photography', is definitely worth researching for inspiration and guidance.
It's very clear that Bruce has a unique style. He's intrusive when creating his work. Quickly jumping in front of people. On the majority of his photographs. The subject is looking at the Camera but hasn't had time to react to his presence. This shows just how quickly he gets into the action for his shots.


He says the people he takes pictures of aren't random people that walk past or that he walks past. It's more as if they're drawn to each other.

His subjects are always a little out of the ordinary, They may be dressed a little (or lot) different or just be doing something that would be deemed as strange.

Gilden likes to use a Flash because He says it helps him visualize his feelings of the City and draws out the stress and energy in the photograph. This gives the close up subjects extra exposure. Making them stand out from the rest of the image and bringing out all of their features.

One thing that Gilden has done over the years that caught my attention, Is he worked the same streets in Manhattan since 1981. This has created a photo blog for him/us to understand the changes in the type of people, fashion, even down to the class of people that frequent the streets.
He say's the streets lack character these day's. Everyone looks and dresses the same. He refers to it feeling like Disney World.

An earlier quote from Bruce Gilden, which works across almost every genre of photography is:
 'If I can't allow the viewer to look at the Photograph and make up a story about it, then it's not a strong Photograph.'




Credits:
Images taken from: http://erickimphotography.com/blog/2012/08/09/askmagnum-video-interview-with-bruce-gilden/

(All photos copyrighted by Bruce Gilden / Magnum Photos)