Discussion Image: by Robert McPeak

by Robert McPeak

Jared: When it comes to street photography, it seems there is always a bit of discussion around what is ethically okay to shoot. Should we take photographs of homeless people, of street performers? How about children? Where do we draw the line? Is their even a line to be drawn? The ethical arguments pretty much bore me to death at this point. I know (for me) what is okay to shoot. Everything. Making compelling photographs from this (or any) subject matter is the problem.

This photo by Robert McPeak, gives us a chance to reflect on the problem of shooting street performers in an interesting way. Garry Winogrand in this video talks about the problem with shooting theater on the street:

That guy in the car, sitting on the back seat, waving his hand from the car… To make a photograph more theatrical than the subjects own theatricality — is a hell of a problem.

Robert solved the problem with a reflection, a foreground passerby, an artificial sun top left – enough interesting visual information to carry the image without relying on the subjects inherent theatricality. So, next time you sneak a hip shot of a busker or homeless person, it may be nice to think about what you’re doing to overcome the overriding theatricality of the subject — instead of whether you should take the photo or not.

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  • Tiffany

    Fascinating how this Anonymous type specifically uses your name, John, so he can properly exert his authoritah. He’s really making a name for himself!

    For me this picture is all about dancing light, leading the eye around the frame simply to enjoy the pleasure of multiple layers and synchronistic colours. The musician chose a lovely mural backdrop and wore a contrasting shirt. The picture is melodic, whether or not the musician was.

  • http://twitter.com/jogofoto John Goldsmith

    @anonymous. When you are ready to have a discussion with your actual identity, I would be happy to address your post. Until then, I’m not going to invest the time responding to your argumentative attitude; clearly you are looking for a fight. Also, for what it’s worth, Robert was appreciative of my “thoughtful review,” as he said.

  • Anonymous

    Sometimes I think that some of you HCSP types should just stick to your day jobs. Leave the critiques to the critics. In what alternative existence are the homeless being “theatrical”? See, here’s the problem: you’re a bunch of Winogrand fanboys, sure at the ready (and literally) to swallow almost everything he said. The man himself was only making an off-the-cuff comment about how to make an otherwise dull scene into an interesting picture. That’s it! But anyway, thanks for the laugh. Let’s break it down.”While I’m hesitant to say this, there are times for making and publishing this kind of image.’OK, tell us when.”Unfortunately, many people don’t have the editing skills or experience to make this kind of judgment.”And you do?”With McPeak’s image, I would say there are elements that I appreciate, in colour and scale, but my interest wanes in the simplicity.” Your interest wanes in the simplicity? What the hell does that mean?”The woman walking through the frame is filler, in my opinion, as she does not interact with the rest of the scene.”How is she supposed to do that? Besides, she’s in the picture, ain’t she? “With the theater analogy, it’s as if she’s a stagehand walking onto a live performance.”You must be joking. But I’ll play along. I think maybe she’s an extra that’s meant to be out of focus. Did you think about that?’While I recognize that as a candid street photographer we are at the mercy of what is given to us, this is probably not what what the director had in mind for us to experience.”Director? What director? Man, you’re a photographer out there photographing people. There is no director. “Maybe instead of using a reflection, a true double exposure would make a more deliberate result..”Now you’re talkin’. Although that might just upset the SP purists, ya know. But if Faurer could get away with it, I don’t see why you can’t John. “or maybe the photographer just needs to linger longer.”In this day and age, that will get you arrested.”Anyway.. the colour and scale are great but this image feels forced.”Forced? To do what? If you’re going to be a critic, John, then please try to be clear so people can understand you. I think you mean “contrived”, thus producing an artificial scene. But the picture is surely no less artificial than Parke’s or Stuart’s (whose image is downright exploitative, by the way), while Chua’s, well, there’s a reason why Chua gave up the streets in favor of bushes.

  • http://twitter.com/jogofoto John Goldsmith

    Producing interesting theater from a chaotic street scene is the damnedest part of street photography — and being seduced by good light is the easiest part.

    Somehow, photographing the homeless and buskers has become the default starting point for most novice street photographers and is sadly what most people think of when they hear about this genre. That said, this is an affliction that affects all who photograph strangers, and not just that of beginners, but even more notable figures who find their work prominently displayed on the British Journal of Photography and National Geographic. For those that don’t know my references, think: Dorothea Lange, a lot of travel photography or just about any image taken in the diverse continent of Africa.

    At a talk given by Fred Herzog recently, he made the point of not taking advantage of the disadvantaged. Herzog described a photo he took, but never shared, of a homeless person sleeping in front of a major bank in Vancouver. With other details, that photo sounded like it had potential but, according to him, it is one that the public will never see. I’d say Herzog is a good judge of why we won’t.

    While I largely agree with Mr. Herzog’s sentiment, other respected documentary photographers have been able to overcome the cliches and baggage associated with photos of beggars and buskers. While I’m hesitant to say this, there are times for making and publishing this kind of image. Unfortunately, many people don’t have the editing skills or experience to make this kind of judgment.

    Trent Parke succeeds, however (see link below). In the image, Parke is able to transcends the woman’s own identity and hardship. He makes a photograph worth distributing because he makes us examine the systemic societal issues that create inequity. In other words, the image is about the woman but will also outlive her because of the value it offers to art, history and people.

    With McPeak’s image, I would say there are elements that I appreciate, in colour and scale, but my interest wanes in the simplicity. The woman walking through the frame is filler, in my opinion, as she does not interact with the rest of the scene. With the theater analogy, it’s as if she’s a stagehand walking onto a live performance. While I recognize that as a candid street photographer we are at the mercy of what is given to us, this is probably not what what the director had in mind for us to experience. Maybe instead of using a reflection, a true double exposure would make a more deliberate result.. or maybe the photographer just needs to linger longer. Anyway.. the colour and scale are great but this image feels forced.

    Here are some theatrical photos that keep me coming back:

    Trent Parke:

    http://www.in-public.com/TrentParke/image/1508

    Matt Stuart:

    http://www.mattstuart.com/Photographs/Colour/17-SHAFTESBURY-AVENUE

    Hin Chua

    http://www.killeryellow.com/blog/wp-content/uploads/2009/08/hinchua.jpg