Why You Should Stay on the F*cking Bus

by Eric Kim on August 8, 2011

"Jazz Hands" - Eric Kim

Finding your own style in street photography is one of the most difficult things to discover. Everyone is influenced by the great street photographers such as Henri Cartier-Bresson and Garry Winogrand, but to differentiate yourself from them can be a life-time journey. Personally I have been having difficulty finding my own style, with my earlier work relying more on juxtaposition and architecture. I have recently started to transition in getting closer to my subjects and shooting with a flash–a technique similar to that of Bruce Gilden and very controversial.

In trying to find my own style, my good friend and fellow street photographer Thomas Leuthard told me about the “Helsinki Bus Station Theory“. It was a commencement speech to graduating photography students at the New England School of Photography in June 2004 by professor Arno Rafael Minkkinen. In the speech, Minkkinen uses the analogy of bus routes to describe one’s own photographic journey. Everybody starts off at the same bus station, and all the buses follow the same route out of the city for about a kilometer. When you stay on a certain bus route for less than a kilometer, you will undoubtedly have your work compared to that of the other great street photographers before you who have “already done it before”.

"Ansel Adams?" - Eric Kim

What should we do when we are trying to find our own street photography style? Minkkinen states: “It’s simple. Stay on the bus. Stay on the f*cking bus.”

Once you stay on the bus for long enough, you will notice that the route your bus is on will eventually diverge from all of the other buses–taking you to a different destination. This is where you will find the subtle nuances of your own work, and discover how your work differentiates from those before and around you.

"Santa Monica" - Eric Kim

I am a huge fan of experimentation and trying out new things when it comes to street photography. It can be a wonderful way to find inspiration and discover what you truly like to shoot.

However if you want your work to truly be memorable, remember you must cultivate your own style and stay consistent.

"The Look..." - Thomas Leuthard

When I look at the work of Thomas Leuthard, he does an array of street photography both with his Nikon DSLR and Lumix GF-1. However when I think of Thomas Leuthard’s style I think of up-and-close candids of people’s faces that stare into your soul. His portraits are all shot with a 50mm and he uses roughly the same framing and aperture. This gives him a consistent look, in which you can spot one of his photos and say, “That is a Thomas Leuthard Photo”. He does experiment quite a bit as well (check out this video of him shooting with a flash) but his main body of work never wavers much.

"Sapporo" - Charlie Kirk

As of late, I have been personally very influenced by the work of classic street photographers such as Bruce Gilden, Weegee, Mark Cohen, and more contemporary street photographers such as Charlie Kirk and Dirty Harrry. I haven’t quite found my voice or something new I can offer to the table–but I am determined to stay on the bus long enough for me to discover.

Who are some street photographers you have drawn inspiration from and how do you differentiate yourself from their work? Share with us your personal journey with developing your style in street photography in the comments below.

Tagged as: helenski bus station theory, street photography, thomas leuthard

Anonymous

I know there has been a lot of controversy lately over your Bruce Gilden style but good for you for trying it out and I think you were much less obnoxious than Bruce. You have to push the envelope and explore. Keep it up!
- http://erickimphotography.com/blog Eric Kim
  
  Thanks Lisa!
Eric W.

Well-said, and I think the Bus Station Theory is very interesting.

However, having in mind the comments to your last videos and posts, to which I, too, partially agree, one of the main concerns besides the results is your behavior. You don’t seem to address this complaint at all. Would you mind posting about your attitude towards this?
- http://erickimphotography.com/blog Eric Kim
  
  Hi Eric,
  
  Can you clarify which behavior? I would love to respond
  - Eric W.
    
    I mean that a lot of people criticised you for being disrespectful or annoying to your subjects.
    - http://erickimphotography.com/blog Eric Kim
      
      That is just people’s impressions based on one video I made when shooting with a flash and getting really close to people. People seemed to like this video: http://www.youtube.com/watch?v=-VmAbMO5NBI
Mdavey1985

With a year to go of my photography degree very much still at the bus staion ….but I take the odd excursion and get off at various stops
http://johngoldsmithphotography.com John Goldsmith / Waxy

Staying on the bus is one thing. Staying on the bus while being the loud, obnoxious cellphone guy is quite another.

Don’t get me wrong, Eric, I understand the concept you are speaking of and the value of trying new techniques. I also don’t object to Gilden-esque photography. I understand that is has a value, though not one that all will agree with.

But what is more important than sticking to your guns or staying on the bus or whatever you want to call it, is to have respect for your subjects. Gloating and doing “touchdown” dances is over the top, in my opinion. I think most, but not all, of the rage from the photography community was your attitude — and not Gilden’s technique.
- http://erickimphotography.com/blog Eric Kim
  
  Hey John,
  
  Thanks for your input. I definitely didn’t mean to gloat in the video and the dance I did was when I heard some cool music when walking on the streets. I definitely will zone more in being sensitive to my subjects and try my best not to be inconsiderate.
  
  Thanks again,
  Eric
  - http://johngoldsmithphotography.com John Goldsmith / Waxy
    
    I’m glad to offer any thoughts, Eric.
    
    One last note: I’m sure you didn’t intend to be inconsiderate. You seem like a stand up guy. I’ve had similar adrenaline rushes, at least, that’s how I interpreted your attitude in the vid. But I think focusing that energy into making pictures seems like a worthy cause. I’m not saying that my approach is better or more unselfish, but it’s like what Garry Winogrand says: _Photography is about finding out what can happen in the frame. When you put four edges around some facts, you change those facts._ The video doesn’t explain why you danced. It only shows you dancing after taking aggressive shots.
    
    Anyway… Good luck.
http://twitter.com/roblarosa Rob LaRosa

I think that when you’re starting out it’s important to experiment and try different styles and techniques. Eventually, one style or approach will appeal to you more than the others – you’ll keep coming back to it. When that happens, that is when you should stay on the bus.
- http://erickimphotography.com/blog Eric Kim
  
  Thanks Rob!
http://twitter.com/JasonSMoore Jason S Moore

Good post, Eric. The bus station metaphor holds for just about any artistic endeavor. We are all influenced by what came before and it is a challenge to recognize when we’ve crossed the line from inspiration to imitation.

It’s interesting to tune in to your quest for a unique style, but titling your post “shooting like bruce gilden” certainly invites the charge of imitation. In some cases, the flash truly makes the picture – Charlie Kirk’s “Sapporo” for example – I really like this photograph, but every time I see “Sapporo”, I think its a Bruce Gilden.

If a unique style is your goal, you haven’t done yourself any favors by settling into a niche (street photography) of a niche (candid portrait) of a niche (with flash) that is so identified with a single photographer. But, hey, maybe you can make it your own. Or maybe you shouldn’t worry about creating a style and just shoot whatever appeals to you in whatever way appeals to you. Your style will come from your eye and your brain, not from your camera and your flash.

I’m typically not a fan of the results street photographers get with flash, hey, I’m kind of a picky bastard about everything. It would be interesting to know from you what it is about the close-up flash candid style that appeals to you – what does the flash add (more than harsh flat light?).

thanks.
- http://erickimphotography.com/blog Eric Kim
  
  Hey Jason,
  
  I definitely made a lot of mistakes with the original post, and have learned my lesson.
  
  Also often times what I love about flash is its effect when my subject is in a shadow or complete darkness. It gives my subjects a fourth dimension it seems– and I can see their soul more clearly
  Hopefully I just stay out there and keep shooting and finds what comes natural to me.
  - http://twitter.com/JasonSMoore Jason S Moore
    
    thanks, Eric – interesting to hear what you’re going for with flash. Stay on the fucking bus (btw, is fucking really more offensive than f*cking?)
    - http://erickimphotography.com/blog Eric Kim
      
      Anytime Jason. And the * definitely makes it a TAD more appropriate imho
Patrick Wouters

My advice would be : follow your heart and your own style will emerge by itself.
The more you think about developing your own style, the more artificial it will become.
- http://erickimphotography.com/blog Eric Kim
  
  Well said!
http://jamesdodd.net James Dodd

Do you think people like Gilden, Parke etc. sit down and only think about the aesthetics of their images?

No. they are more likely to concentrate on asking questions and probing why they are doing the work they are.

Seriously, stop concentrating on aesthetics and concentrate on substance. They (aesthetics) should be a byproduct of the actual work.

doing it in this opposite way (while may be able to fine tune some skill or technique) is only going to result in empty images imo.
- http://twitter.com/JasonSMoore Jason S Moore
  
  James, I’m gonna have to disagree with you on this one. Compelling photographs are a combination of substance and aesthetics, and an aesthetics-first approach is perfectly valid and as likely to result in interesting photographs (assuming the photographer makes good aesthetic choices). Here is an example of a very interesting photograph that is pretty much devoid of context/substance and succeeds primarily on aesthetics:
  
  http://jamesdodd.net/news/2011/06/27/feature-shoot-feature/
  
  I don’t know the photographer’s mental process in shooting the scene, but I’m guessing its selection for publication was largely based on its aesthetic merits.
  - http://jamesdodd.net James Dodd
    
    kinda missing the point there Jason. I never said aesthetics weren’t important. Heck a combination of aesthetics and substance is pretty much what everyone should be aiming for in a photograph.
    
    The thing is, rarely will a photograph exceed where it plays on aesthetics alone (unless you’re wanting ikea artwork). But when it comes to substance alone, they can. It’s a completely different ball game. You can ignore the flaws of an image completely if the message is clearly translated across to the viewer. You only have to look at the mass amounts of citizen journalism hitting the world these days to see how this can resonate.
    
    Regarding the image you chose of mine… well, the aesthetic merits played little part into the decision for choosing it. Go do a search and read an interview where I’ve discussed the aesthetics of that series, hopefully you’ll see where I’m coming from.
    
    For me, if that image didn’t contain that person (or maybe another member of his team), it wouldn’t be included in the body of work. eg. if it was a random person on the street it would be diddly squat.
    
    And with the whole series, there is purpose behind every image, a reason why I photographed them and selected them, it is thought-out, calculated and fits within a plan I have for the work.
    - http://twitter.com/JasonSMoore Jason S Moore
      
      Thanks for the response, James. I buy all of my artwork at Ikea.
      
      But seriously… I don’t doubt that your approach to the story and selection of images for inclusion was very purposeful and deliberate. When I have some time to spare, I will read further on your series because I think its great. However, as of now, the fact that I don’t know anything about the story, your approach, or who the guy is in the photograph or why you took his picture kind of proves my point. I really dig the photograph absent any of that context. Why? Aesthetics.
      
      We’re not always trying to tell stories with our photographs. Sometimes we’re just trying to create something interesting.
- http://erickimphotography.com/blog Eric Kim
  
  Thanks for the input James.
  
  What you says definitely resonates with me. I recently watched a video on Gilden and he said when he was starting to do his work, people always compared him to other photographers. However the more he shot, they started to call his work his.
  
  Will definitely zone more in substance. Things have been a bit wavering lately :p
- Tien Yun Tan
  
  Bingo!
http://silentxpression.wordpress.com/ Simon Wallerstedt

Great article Eric, and interesting theory. Haven’t really thought about it like that before.
I’m trying hard to find my style, but it swings along with my mood (which swings quite a lot, lol). I haven’t been shooting all that long yet, still experimenting. I’m sure it’ll come to me in time.
Btw, I really like the images you get with the flash.
You’re doing a great job, keep it up!
- http://erickimphotography.com/blog Eric Kim
  
  Huge thanks for the love and support Simon!
Brent

Hi Eric,

One thing I discovered, a long time ago, was that to find a style you need a base. And for now your base seems to be the ‘Bruce Gilden’ style for lack of a better description. What you need to do is tweak the technique a little bit each time out, over a stretch of time. The tweak could in camera settings, flash position, time of day, techniques borrowed from other styles, subject positioning etc. Something different than Gilden and those before and after. Eventually you become you, your style. The tweak does not have to be drastic, subtle will do. But you have to try, add, and/or discard then tweak again; repeat. Eventually the end result may not even resemble what you started with, but it will become you.

“Insanity: doing the same thing over and over again and expecting different results.”
-Albert Einstein

(I know I quote a lot from from various people, in these comments, but I always learn something from people wiser than me

Look at a lot of photos and not only of street photographers or photographers in for that matter. You can learn a lot by expanding your horizon.
For example, recently I read several books on comic theory, (graphic novels for those of the current generation), and learned a lot about framing. “…to capture or ‘freeze’one segment in what is in reality an uninterrupted flow of action….” You don’t need photography books, exclusively, for influence there are a million other sources of inspiration.

There are many routes and many buses but you have to ride them all and that takes time.
- http://erickimphotography.com/blog Eric Kim
  
  Hi Brent,
  
  Thank you for the thoughtful comment. One thing I realized is that I’m more comfortable with a 35mm than a 24mm– and seem to get better shots with it. Also a DSLR seems to be the wrong tool– gotta try out new things.
  
  Also great Einsten quote!
  
  I have also been consuming tons of photography books–and I hope to find my direction too.
  
  Thanks again
Siri_T

I’m starting to find that I love a scene which has people in it. Love Helen Levitt. But my style is starting to show itself with areas of light and shadows, tunnels, doors, windows. Staying on the bus is a good thing.
- http://erickimphotography.com/blog Eric Kim
  
  Keep it up!
Matt

Eric,
I’m appreciate you sharing your lessons and growth with us while you go on your journey to develop your own style. I like the sense of community you’re trying to develop here.
- http://erickimphotography.com/blog Eric Kim
  
  Anytime Matt. I just try to spread the love
Pdcorlis

Never mistake technique for style, never mistake style for substance. A career is made over decades, not weeks and months. Become selfless, which is not thinking less of yourself but thinking of your self less often. Show compassion for your subjects and let go of that great big ego.

At this very early point in your career, this blog may be doing you more damage than good.
- http://erickimphotography.com/blog Eric Kim
  
  Thank you for the feedback Pdcorlis. I am still trying to find my way, and I have been given a lot of guidance and love from the community to find my way.
  - Pdcorlis
    
    Relax and just shoot – if you didn’t show promise, no one would care what you do.
    - http://erickimphotography.com/blog Eric Kim
      
      Thanks PD… this comment makes a ton of sense. Thanks again
David Jensen

Eric seems like a quiry guy who seemed to be having a good time.
http://twitter.com/Gazonthestreet Gazonthestreet

Hi Eric, good article. I have been shooting street photography on and off for over 10 years. The type/style that I shoot has happened to me almost subconsciously and that is seeing humour on the street in my images. I have since found other street photographers that do similar work, like Matt Stuart, but can honestly say that I was not influenced by them as I was not aware of them until much later. You can see examples of my work at http://www.flickr.com/photos/gp_photography/ That’s not to say that being influenced is a bad thing, so long as we don’t blatantly just go about copying.
- http://erickimphotography.com/blog Eric Kim
  
  Amen brother!
Michelle

I think that’s an interesting analogy and worth thinking deeply about.

I also think that the people criticizing you here should use their time up more wisely by going out at working on their style. I think the community you are building here is valuable. You are sharing what you are learning and ultimately that is a way of teaching others. Keep up the good work!
Kevin

Great Post Eric, how many photos would you say you shoot in a day? more than 500 up to a 1,000?
Mesjacox

What is the point of defining a style before you have defined your content? an idea of what you want to portray or say. I believe that style is not a render of different techniques (as you try and portray here) but a long process of understanding what you want to say. Once you have this clear, your way of telling it (if you work hard and have a talent) will define your style. As to the bus… sure the bus you are on is not the one that is going over the cliff? Just a thought!
hell-on-a-stick

While I respect your need to get candid material, I think that the bruce gilden method would likely get your flash snatched from your hand and destroyed at some point…I can’t see how being such a nuisance could ever be interpreted as art…but, that said, to each his own.
I feel that, if you’re an artist, your style will emerge and that focusing on ‘style’ is sort of like focusing on what you’re going to wear to the meeting, rather than focusing on the content of your presentation.
I have heard it said many times by older artists that “style will emerge with your individual approach, but first, you have to be true to your methods.”
http://larrymonseratepiojo.wordpress.com/ Larry Monserate Piojo

Experimentation can sometimes make us do crazy stuff that numerous people tend to dislike. But through this, we learn our lessons and allow us to clearly discover or define our chosen craft.
- http://erickimphotography.com/blog Eric Kim
  
  Thanks Larry!
  - http://larrymonseratepiojo.wordpress.com/ Larry Monserate Piojo
    
    There’s so much in this world yet undiscovered, learning is infinite. Learning from mistakes and fine-tuning methodologies make our photography simple.
    
    By the way, I’ve been a lurker in your blog. Thanks for sharing your insights.
http://www.facebook.com/lauri.saksa Lauri Saksa

damn right!
Bo Lorentzen

Great post, I get it and am buying a bus pass today…!

But maybe the real point of the bus theory, is most along the lines of “keep doing it”

Eric, the fact you are experimenting with different styles, tweaking what works for you etc, is what in the end amounts to developing that style thing. But the only way to know you are a affirmed coffee drinker is trying tea a few times, I mean, it might be good, and if it is not coffee will seem so much more right, particularly with the right amount of cream and sugar based on your taste… Photography is the same way, a style is how you take you coffee, we are all coffee drinkers, but some like it really hot and some with a lot of water. The funny part is that everybody is right in some way.

Bo
Bo Lorentzen

Great post, I get it and am buying a bus pass today…!

But maybe the real point of the bus theory, is most along the lines of “keep doing it”

Eric, the fact you are experimenting with different styles, tweaking what works for you etc, is what in the end amounts to developing that style thing. But the only way to know you are a affirmed coffee drinker is trying tea a few times, I mean, it might be good, and if it is not coffee will seem so much more right, particularly with the right amount of cream and sugar based on your taste… Photography is the same way, a style is how you take you coffee, we are all coffee drinkers, but some like it really hot and some with a lot of water. The funny part is that everybody is right in some way.

Bo
http://twitter.com/ChuckyBoilo Chucky B.

For me street photography is a totally new style I’m trying out… My background is mostly action sports and fine art large format photography (urban landscape etc…) which is miles away from what I’m trying to do right now… That being said street photography is a slow learning process as I have a hard time getting close to people… I’m working on it and getting better evrytime I do it…
- http://erickimphotography.com/blog Eric Kim
  
  Practice makes perfect
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