bella photography
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Photography magazineTRANSCRIPT
WELCOME!
Welcome to the first ever issue of BELLA PHOTOGRAPHY! We hope you‟re as excited as
we are. This issue is packed full of photographs, photographs and more photographs! Oh, and
some writing too...! For those of you who class yourselves as complete beginners, we have a
„Beginners Class‟ (page 9) just for you! We know you‟ll find useful it and fun. Did you know
that many professional photographers are actually using toy cameras? Kate Hogg introduces
us to lomography (page 18) in our regular feature, The Lomographer. We couldn‟t believe our
luck when photographer (and toy camera-user) Lindsey Byrnes agreed to do an interview with
us (page 11)! We‟ve also been extremely busy putting together tips and ideas (page 7) for you
to try out, as well as competitions (page 18) to enter. Sophie Abel also tells us how to take an
even better photograph while you‟re „On Location‟ (page 21). These are just a few of the
features you have to look forward to! Enjoy!
(c) Photographs by Rebecca Connolly
Contributors:
Meet the team
Editor
Kate Hogg
Writers
Sophie Abel
Kate Hogg
Pixie Twist ([email protected])
Photographers
Kate Hogg
Rebecca Connolly
Sophie Abel
Kati Reinikka
Artists
Pixie Twist ([email protected])
Kate Hogg
Cover design
Kate Hogg
About the Editor:
Kate Hogg is a Scottish photographer. She
has a wide range of experience: in January
2010 she founded the Photography
Society at Queen Margaret University, and
was President until mid 2010. She was
also photographer for „The Echo‟
newspaper and for the Queen Margaret
University Student Union. She recently took part in projects
such as the QMU Naked Calendar and the „Pink Is the New
Green‟ fashion show, an event run for breast cancer
awareness. Kate‟s first ever photography job was as Second
Photographer at a family wedding in New Zealand. In March
2010 Kate was awarded „Member‟s Member‟ of her society, and
was also nominated for „Female Personality of the Year‟.
“He that sincerely loves nature finds pleasure
everywhere”
– Vincent Van Gogh
Kate has lived most of her life in Edinburgh and considers
herself to be a true city girl. However it was during an extended
stay in the Scottish Borders that Kate suddenly saw the beauty
of nature. Armed with a new camera, she set about trying to
capture that beauty, and still does to this day. Kate draws
inspiration from beauty – from stark winter frosts to a simple
smile – and tries to capture these moments through
photography.
Kate‟s photography can be seen and purchased from
katehoggphotography.weebly.com
Contents
Reader’s Letters 06
Your Questions
Answered 06
TIPS and IDEAS 07
Projects and ideas to improve your
photography
Just Point and Click! 08
By Pixie Twist
Beginner’s Class 09
Photography 101 looks
at compos- -ition:
framing and the
Rule of Thirds
Interview with
Photographer:
lindsey byrnes 11
Queen Margaret
University Photography
Society Report 15
Introduction to QMU‟s „PhoSo‟
The Lomographer 18
On Location 19
By Sophie Abel
Competition 20
Book Review 21
Discussion 23
Ethics of Street Photography
Reader’s Letters
Since this is the first ever issue, the Readers Letters page is looking a bit empty! So, we thought
we‟d give you some ideas to inspire letter-writing: we would love to hear why you love
photography, what you think of the magazine, any ideas you have - or anything else you might
want to tell us! Send us your letters and we‟ll publish them on our Reader‟s Letters page.
YOUR QUESTIONS ANSWERED
In each issue we‟ll also answer any questions you have, whether it is about your camera or kit or how to improve a photograph you‟ve taken, we‟re here to give you advice and guidance on whatever query you might have.
Let us know what you think, at:
www.twitter.com/bellaphotomag
www.facebook.com + search bellaphotographymagazine
(c) Photograph by Kate Hogg
TIPS and IDEAS
In each issue, we‟ll give you some advice and projects to try out. Here are a few to get you started.
Have fun!
TIPS:
>Take your camera everywhere you go.
You never know when an opportunity
may arise. You’ll end up with photos
taken in a wide variety of settings as
a result, too.
>Keep it simple. Your subject should
be the main focus, so keep anything
else to a minimum.
>If you feel shy taking photos of people,
take photos of family and friends – they
will feel more comfortable and in turn
your confidence will grow.
>Get into the habit of analysing photos
– try to work out why you like or dislike
each photo, and how you can learn
from it.
>Use your subject’s natural
environment to give the viewer more
information about the subject. The
familiar surrounding will also help your
subject feel more relaxed, too.
>If you can’t get to your subject’s usual
location, try using use props instead.
Props will also give your subject
something to work with if they feel
awkward around your camera.
>Experiment with different angles. Don’t
just go for the generic angles – unusual
angles can make for more interesting
shots!
IDEAS:
>Try taking at least one photograph every
day at the same time. This will help
you to “see” photographically. When
your alarm goes off at your chosen
time, take a photograph within 20
seconds so that you learn to find
photographic opportunities quickly.
>Put together a scrapbook of
inspiring photos which you can learn
from. Make some notes about why the
photo is inspiring, or why a photo is bad
and how you can learn from it.
>Keep a photographic diary: take self
portraits of how you are feeling.
This will also give you an
understanding of how your models
might feel on the other side of the
lens as well.
>Try taking photos of how you’re
feeling, without any emotion in it. What
represents sadness or happiness for
you?
We‟d love to see your results! Send them to
[email protected] and check
out the next issue – your photos may be in
there!
(c) Photographs above by Kate Hogg
(c) Photographs below by Rebecca Connolly
Just Point and Click!
By Pixie Twist
I bought my first camera for fifty pence. I was
seven. I loved the camera and used it until I
was ten, when I got a Nikon for Christmas.
I didn‟t know anyone else
who had a camera at my
age, but I‟ve always been
someone obsessed by
visuals, the thought that i
could see something through
my eyes and permanently
preserve it was an instant
attraction. At that age I
thought other people weren‟t
interested in the images that
fascinated me.
I used the point and click
camera until I went to college
when I was twenty and had
to buy an SLR.
The best part of my college course was
learning how to make black and white
photographs from start to finish. While
monetarily it costs much more to develop and
print photos - especially after realising your
film might not have as many good photos as
you would have liked: realising your film
includes out of focus photos / overexposure /
underexposure / finding your thumb got in the
way / finding it‟s not quite straight / finding out
your subject was too
far away or was so
close that they have
just become a blur,
which of course who
have no idea until you
get your film back, by
which time you might
not be able to recreate
that particular event,
the look on someone‟s
face, or perfect moment in time - it is still so
much more rewarding than using a digital
camera, where you know you can retake as
many photos as you want, with
room for those mistakes.
I now own a digital camera, and
while I haven‟t used my point-
and-click camera for quite a few
years, I would love to turn my
cupboard into a black and white
darkroom, once I‟ve saved
enough money for the light box
and chemicals.
I can only finish this article, by
further annoying anyone who
enjoys the technical side of
photography, by saying I still
prefer my point and click camera
to my SLR. It is extremely light, worth so little
that damage or loss isn‟t too much of a
concern, yet still has a higher good to bad
ratio than my SLR, which isn‟t nearly as good
because of the fact you can program the
settings – then when the photo turns out
disappointing you always feel more at blame
than the camera. I can appreciate the joys
and advantages of digital photography if you
have enough money to purchase a decent
camera, memory cards, computer, photo-
editing software, and
don‟t mind taking dozens
of identical photographs
only to have to spend a
lot of time choosing your
favourite and editing it.
Nevertheless, I think I‟ll
stick to my point and
click!
(c) Photography by Pixie Twist
Beginners’ class
By Kate Hogg
Take a seat class, take out
your textbooks cameras -
we‟re going to have fun
today!
For the first class you‟re
going to learn about
COMPOSTION. When
photographers think about
composition, they think
about subject matter, and
how the subjects are
positioned in the picture
they are about to take.
There are some things you
can think about to improve
your photographs, such as
framing and the Rule of
Thirds. We‟re going to look
at each of these in today‟s
class.
First, we‟re going to talk
about framing. You need to
make sure the subject fills
the frame as much as
possible, and that it‟s not
too small or lost in amongst
the other objects in the
frame. You need to ask
yourself: where will you
place your subject within
the frame? How will you
make it stand out? A
technique I love is creating
a frame within a frame;
take other elements within
the frame and position them
so that they surround the
main subject.
In the example above, I
used the railing as a frame
so the viewer must look
through it to see the subject
matter. The photograph is
much more interesting to
look at with the added
„frame‟. Here are some
more examples:
By zooming in, I managed
to create a framed image
here, of the Scott
Monument in Edinburgh.
The sunset and silhouetted
shapes are the focus point
for the viewer.
Here, the baby penguin is
framed by two adult
penguins. The plant below
is also framed by the other
plant pots.
Another effective technique
is the Rule of Thirds. This is
when you imagine a grid
(some cameras have them
built in) much like the one
below.
An example of an image
where the Rule of Thirds
has been used can be seen
below.
The point of interest has
been placed on one of the
intersections, enhancing the
photograph and giving the
image more impact.
Using the example above,
instead of positioning the
horizon in the centre of the
frame, try placing it on
either the upper or lower
horizontal line for a more
aesthetically pleasing
image. For example, if you
want to draw attention to
the river, placing the
horizon on the upper line of
the Rule of Thirds draws
attention to the scenery and
distracts from the dull sky. If
the sky had been more
interesting and the rest of
the scene had been
uninteresting, it would have
been more beneficial to
place the horizon on the
lower line, drawing the
viewer‟s eye to the sky.
Alternatively, if you have a
person or tree included in
the image, you could place
it on either the first or
second vertical line.
The Rule of Thirds can be
used in close-ups as well.
For example, you can
position the subject‟s eyes
on the upper horizontal line.
Similarly if there are two
people in the frame, you
can place them along the
first and second vertical
lines of the grid.
Placing your main subject in
the centre of the frame
should be avoided as it is
less interesting for the
viewer look at.
Next time you watch
television or see an
advertisement, notice when
the Rule of Thirds has been
used – you‟ll start to notice
it surprisingly often.
Balance is another
consideration you may want
to think about. In the
photograph above, the
closest metal bar is
positioned on the upper
horizontal line of the Rule of
Thirds, while the „doorway‟
is on the lower line. The
photograph is very
symmetrical. Each side
balances each other.
Alternatively, you have the
main area of focus
positioned closer, with
another object positioned
further away on the other
side of the frame, or vice
versa.
Below are some more
examples of framed
photography, and
photography which shows
the Rule of Thirds.
(c)Photography by Kate Hogg
Interview with photographer
LINDSEY BYRNES
Lindsey Byrnes is an
accomplished Los Angeles-
based photographer.
Byrnes was Contributing
Photographer for Thrasher
Magazine, Photo Editor for
“Off the Wall – Stories of
Sole from Vans Originals”
and Photographer and
Project Manager for the
book series – “ON”, “IN”
and “AT” – for Tegan and
Sara. Here, Editor Kate
Hogg finds out more...
Tell us a little bit about
yourself?
I grew up in San Diego,
California. I lived in San
Francisco from 1996-2006
So from 2006 to present
you lived in Los Angeles?
Well kind of. I moved
around a bit. I lived in
Orange County for a while.
But it is really conservative
in the OC and although I
love the beach and the
ocean, it is not my kind of
place. So for the most part I
have lived in LA.
How did you first get into
photography?
I'd say I really started
shooting back in 2000. I
was working at High Speed
Productions, Inc. the
publishers of Thrasher, Slap
and Juxtapoz magazines. I
was in charge of the events
and I would shoot them so
that way we could promote
the events in the magazines
after the fact. Also, I would
travel for work and I wanted
to have proof that I was
actually working while I was
gone.
Picture
Taker,
Dream
Maker
Even though I was on the
marketing side of things, my
job was very creative and
the people I worked with
were so creative that there
was a lot of room to mix the
two together. The editorial
staff was open to me
contributing and one day I
went and shot a band
playing live and that was it, I
caught the bug. I really
admire all the
photographers that I met
through working at Thrasher
and Slap. Action
photography is very
demanding and really takes
a lot of talent! They are all
so inspiring, still!
Do you have any
qualifations or are you self-
taught?
I have years of experience
in publishing which I think
has given me a leg up.
Honestly there is no amount
of schooling that can give
you what hands on
experience gives you. I did
take some classes in
photography to learn how to
develop film and print my
own photographs in the
dark room. Those classes
were amazing and gave me
a whole new outlook on
photography. It opened me
up to experimentation with it
that I didn‟t know was
possible. And even though I
work mostly in digital now,
the film classes helped me
on the technical side of
things by giving me a
deeper understanding of
aperture and shutter speed
and cameras in general.
What steps did you take to
get to where you are now?
That brings up an
interesting other question
for me because to answer
that I think I have to first
figure out where I am at? I
have always worked for
other people, always had
jobs since I was a teenager
and got my first work
permit. I loved the idea of
supporting myself and
having the freedom that
comes with having my own
thing going on. One of my
co-workers at Thrasher
magazine and mentor, Luke
Ogden told me once "just
keep shooting" and so that
is what I have always done.
So what‟s your favourite
type of photography and
why?
I love all types of
photography. But mainly I
love to shoot people. I am
and always have been a
people person. I need
people and I love people so
that is what I love to shoot.
Documentary is amazing
because you are capturing
moments in time. That is
when it is truly about the
subjects and not really
about the photographer at
all. Portraits are fun and can
be so different. I love it all
really and I like to mix it up
that way I am never bored!
How would you describe
your style?
This is so hard to do. I don't
know if I have ever been
able to describe it to people.
I‟d love to be able to say
that I possess magic that
brings out the true what is
inside of someone because
I try to and every now and
then I can capture it in a
photograph.
“Photography is an
essential part of our
society and humanity
as a whole. Recording
history for us to learn
from and remember
holds such great
importance”
What‟s your favourite
camera accessory?
Lenses are my favorite
accessories. I can‟t get
enough, I want them all. I
wish I had a million different
lenses and a million
cameras. Okay that is an
exaggeration, but I really
think there is no end to what
I desire when it comes to
camera gear. I am getting
into lights and flash now
too, when I was pretty anti
before.
What tip would you give an
amateur who is having
lighting issues during a
shoot?
It would depend on what the
issue is but my first instinct
would be to ask if you have
checked the ISO. Then I'd
probably say turn it up and
open up the aperture as
wide as it will go! And after
that I might say check your
white balance and turn on
some lights!!!
What‟s the best and worst
thing, in your opinion, about
being a photographer?
The best thing about being
a photographer is that I can
do my job anywhere as
much or as little as I feel
like. There is nothing bad
about being a
photographer. Focusing on
negative things creates
negativity and that isn't
what I am trying to be
about.
What inspires you to take
photographs?
Everything inspires me to
take photographs! I am
obsessed with capturing
and recording moments in
time. I really feel like
photography is an essential
part of our society and
humanity as a whole.
Recording history for us to
learn from and remember
holds such great
importance. Now, don't get
me wrong I'm not saying
that I feel that I am
changing the world or
making it a better place, as I
do not have some inflated
idea of what I am doing.
Unfortunately I am not
curing diseases or creating
world peace, wouldn't that
be amazing if we could do
that by just clicking a
button! But all that aside I
do believe that the
preservation of time and
recorded memories are
priceless. I learned about
my family history through
photographs without them I
would be very different...
What advice would you
give someone who wants to
pursue photography?
I would say, do it!
What sort of Lomography
camera do you use?
I have a Holga and Diana
and a couple others.
Unfortunately, for the past
year it is a rare and special
occasion that I bring them
out I can't remember the
last time I used them...
Hmmm I need to change
that!
How is it working with
amazing bands like Tegan
and Sara?
Tegan and Sara are
professional, hard working
AND talented. Everything
that they do is done with
integrity and honesty. So,
when I have the privilege of
working with them or
amazing bands that are like
them I consider it a
blessing!
What's been your worst
shoot and why? Is there
anything that you don't like
to photograph so much but
just have to?
The only bad shoots are
ones that you don't learn
anything from. Therefore, I
can honestly say that I
have never had a bad
shoot. I always want to be
learning. My point is that
even if something didn't
turn out the way I wanted it
to it could still be a good
shoot, if I learned
something for the next time.
How do you come up with
ideas for a photo shoot?
(Location, model poses and
so on?)
I like to collaborate with the
people I am shooting so if
we are doing things beyond
locations then we talk about
them first. A lot of times I
will pick locations based on
what the person is wearing.
My mind kind of just works
that way. It is different
every time, but I like to find
out what my subject thinks
about things. Collaboration
and open mindedness are
the key elements.
www.lindseybyrnes.com
Lindsey‟s photos, featured
in “Off the Wall – Stories of
Sole from Vans Originals”
and “ON”, “IN” and “AT”,
the Tegan and Sara books,
are all published now.
(c) Photo of Lindsey Byrnes,
above, by Sara Quin
Kate Hogg meets Lindsey
Byrnes
Editor Kate Hogg with
Lindsey Byrnes
Queen Margaret University ‘PhoSo’ Report
Each issue, we‟ll bring you news on QMU‟s Photography Society („PhoSo‟ for short). Here last year‟s PhoSo President, Kate Hogg, tells us about the Society so far...
“The Queen Margaret
University Photography
Society was set up in
December 2009, but the
first meeting wasn‟t held
until the beginning of
February 2010. Meetings
were held weekly, and were
designed to be suitable for
beginners and beyond.
Assignments were
fortnightly and included
projects on „Identity‟,
„Wildlife‟, and „Black and
White‟ photography.
Assignments included trips
out as well, such as to the
Zoo and Butterfly and
Insect World.
Beginners Meetings were
really for everyone,
regardless of
photographical knowledge.
If members had any
photography questions
whatsoever, it was the
place to go! For example, if
a member didn't
understand something
about their camera or the
latest assignment, that
meeting was the best time
to ask. Assignment
meetings were held every
other week and were when
members discussed the 10
photographs they had
taken for the latest
assignment. On top of all
this we were frequently
invited to events held at
university, which gave
members a great
opportunity to try out Event
Photography.”
“Exhibitions will also be held yearly, giving members a chance to show off their best work from that year.” In the next issue, we‟ll talk to next year‟s President, Sophie Abel, to find out about her plans are for Society next year.
(c) Opposite page: Photograph by
Kate Hogg
(c) Photograph above by Sophie Abel
Last year‟s exhibition poster was designed by Society member Kati Reinikka
Bella Photography Promotion
QMU
If you‟re interested in joining or require our services, please contact President, Sophie Abel on [email protected]. The
“Photography Society QMU” Facebook page is where all the latest news can be discovered.
“Be fast,
be open-minded,
be communicative”
-Diana F+book
THE
LOMOGRAPHER Lomo-lover Kate Hogg
explains why you should
love toy cameras too
Do you own a toy camera? I do. In fact, a surprising amount of people do – from hobbyists to professional photographers.
Lomography cameras have made a huge come-back recently, as I quickly discovered while researching Lomography cameras in preparation for buying my first lomography camera. Through a friend, I was introduced to a whole new world: the world of lomography.
(c)Lomograph by Kati Reinikka
The entirely plastic camera was first used in the 1960s (selling for around a dollar and failing miserably) but has successfully made its come-back in 2007. Unlike most cameras that so many of us have come to love some 50 years later, lomography cameras don‟t have any extra buttons, dials or menus. Which means users can quickly snap the incredibly-simple shutter and be done (or not, as you can double expose!), rather than fiddle about with modes and shutter speeds and focuses.
However, the beauty of the lomography camera is that the end result isn‟t necessarily going to be anything like what you originally planned to photograph. Vignetting, blurred edges, colour leaks...these are all common features you come to look out for on viewing your developed lomographs. This is half the fun though: the unpredictability of lomography. I don‟t know about you, but I‟m hooked already.
Bella Photography Promotion
Capture your world
through Lomography
Competition!
Each issue we‟ll present you with a new competition. The winner‟s photo will be shown on the front cover of the next issue, and other entries in the Competition will be shown in this section of the magazine!
For the first competition, we want you to take photos in BLACK AND WHITE. Have fun!
Rules:
1. The photograph must be taken by the entrant (no stealing photos from the internet!)
2. Self portraits must also be taken by the entrant – for example, using the self-timer setting.
3. Entrants can enter up to three photographs.
(c)Photo by Kate Hogg
A Bit About Black and White Photography...
Originally all photos were monochrome but
today we have much more choice. Almost all
digital cameras have some sort of
monochrome mode now, as well as colour
modes. And of course, if you own a „film
camera‟ you can buy black and white films!
Monochrome photos can look more „arty‟
than they would have been if they were in
colour. For example: a mundane photo of a
cafe scene may look very average, however
converted into black and white the viewer
suddenly sees a whole new improved scene,
which they want to be a part of.
Set your camera to „Document‟ mode and
then set the colour setting to a mono tone to
get extra crisp close up images.
Remember, what looks good in colour
doesn‟t always look good in black and white /
sepia, and vice versa as well. Always check if
you can! Try to imagine every potential
photograph in mono as well as colour – it‟ll
make all the difference. You can use your
cameras menu to switch to black and white
mode to get a preview in your LCD screen
before taking the shot. Or, you can also take
the photo in colour, upload it onto your
computer, and convert it into black and white
using photo-editing software, such as
Photoshop, Photoshop Elements, or GIMP.
(GIMP can be downloaded free from the
internet by the way!).
Monochrome is ideal for capturing texture -
such as landscapes, wrinkled skin, decaying
leaves and so on – as well as form and
shape. These aspects are all graphically
pleasing. Monochrome can also bring out
contrasting tones in an image – which means
highlights look lighter and shadows look
darker. This can be especially effective when
photographing emotion. Things like shadows
(especially deep shadows with strong
contrast) create mood. Winter images
become starker (for example, tree
silhouettes). Rocky mountains, landscapes,
close ups (for example, stone, tree trunks,
and patterns) and mood all come across
even better in black and white. Try to pick the
best angle to exaggerate all the lines and
edges.
Book Reviews
Each issue we‟ll review three Photography books for you.
Photo Idea Index: Explore New Ways to Capture and Create Exceptional Images with Digital Cameras and Software
Author: Jim Krause
ISBN: 158180766X
If you’re suffering from 'photographer's block', then this is the perfect book for you! It's
stuffed full of ideas, so even after skimming the pages you'll already feel like you're
over-flowing with new ideas.
Diana F+: More True Tales & Short Stories
Author: The Lomographic Society
ISBN: 390221712X
Whether you're new to lomography or a long time lover, this book is a great read! It's really inspiring and teaches you tons about the world of toy cameras
The Digital Photography Handbook
Author: Doug Harman ISBN: 1847244459
For anyone hoping to improve their photographs, this is the book for you! It’s
straightforward and is structured so everything is easy to find, and covers everything you need to know.
On Location
By Sophie Abel
Not everything in the world is worthy of a beautiful photograph, so it is the role of the photographer to find the splendour in the every day and mundane. In 2007 I travelled to China and had the opportunity to photograph an extraordinary culture and some of the worlds most magnificent ancient architecture and landscapes. My advice to amateur photographers „on location‟ is to focus on detail…the little things that make the difference in different cultures. Rather than taking another generic photograph of a landmark building, I would concentrate on the smaller features such as unique patterns, framing or particularly interesting points of focus that make up an area‟s personality.
We‟ve all seen photographs of landmarks like the Eiffel Tower and the Statue of Liberty so another one of these doesn‟t actually tell
us anything about the people or culture of a place. A city like Beijing has so much to offer in the way of photographic subject, but you don‟t need to travel five
thousand miles to get a
fabulous shot. Cities and villages all over the UK provide a wealth of
beauty that is
easily access-
ible and if you
manage to capture in the
midst of the right light or time day then your photographs will be much
improved.
Depending on your target audience, it might be an idea to photograph quirky points of interest, for example, while in China I saw a ‟do not walk on the grass‟ sign that translated to ‟I will cry if trampled‟ and a man at the top of a mountain with a box of live chicks for sale . These are the kind of things that Western English speaking viewers may find charming or unexpected and are a good source of photographic subject.
Some of the most interesting and memorable photographs are simply a case of the photographer being in the right place at the right time, for example, the infamous shot where a couple set the timer on their camera to get a shot of them in front of a
breathtaking landscape when a curious gopher appeared to investigate the camera. This truly was a once in a lifetime picture and for a few weeks was seen by internet users all over the world. Sometimes good photography is simply a case of good luck. All that‟s left for me to do is wish good luck to everyone hoping to make a success out of capturing the beauty in the world whether you be professional, amateur or just a photography enthusiast. Keep your eyes open all around you to
notice details that
others may not notice and keep your camera available at all times!
DISCUSSION:
In each issue we‟ll present you with a new topic of photographic controversy to discuss. The first topic is on ETHICS – should the photographer make his or her presence known or try to stay is invisible as possible?
Here, Kate Hogg begins the discussion with some of her own thoughts...
To Be [Seen] or Not To
Be [Seen]?
The relationship between the photographer and their subject is one of the most important parts of Street Photography.
There are many pros and cons to whether subjects are aware of the photographer‟s presence or not of course: by blending into the background, subject‟s behaviour will remain natural. This is unlikely to be the case if the photographer were to thrust a huge DSLR, long zoom included, in their subject‟s face! Suddenly your subject tenses up, shows you their „best side‟ and ultimately what could have been a masterpiece has been ruined.
Being visible means your subject‟s behaviour will probably change for the worse, and great candid photography will be harder to achieve.
So, to achieve that great shot, blending into the crowd is something every Street Photographer would probably prefer – which is exactly what I did when I went out to try my hand at Street Photography for the first time. It meant adopting techniques such as shooting from the hip, dressing to match the rest of the crowd, turning of the camera beep off and shooting from further away, and zooming in: maintaining my anonymity.
But was I encroaching on innocent people‟s privacy? In this day and age, where suspicion is so much higher in society, do we as photographers even have a choice in the matter?
Ethics is paramount in photography. Knowing the laws of the country you are shooting in is of course a necessity. But whether you are aware of them or not, it is better to stay on the safe side - just in case.
Therefore, is honesty is the best policy? Surely once your polite, friendly manner has won over your subjects‟ and dissolved any nerves; they will surely relax around you and your camera.
But is this really real? Is this really a real representation of the situation?
And isn‟t this the main question for the photographer: not what aperture stop to use, but what the photograph hoping to achieve? In order to achieve this, surely the photograph needs to be as fair and accurate as possible – can this really be achieved by making ourselves visible and therefore changing the behaviour of our subjects?
Which leads me on to my next consideration: what about allowing our subjects to have a say in the final edit? Surely contacting the subjects and letting them see the results would enable the photographer to gain their trust and be more likely to get a positive response?
Send your thoughts on the „observer effect‟ in to any of the following:
Facebook: “bellaphotography”
Twitter: “BellaPhotoMag”
In Issue 2, we‟ll begin the next discussion: representation.
LEFT: This is clearly a candid shot –however here, my camera and I had been visible. This shot was not achieved until I had taken quite a few photographs and everyone felt relaxed around the camera