Eric’s Note: I am honored to share this interview with James Whitlow Delano, a talented photojournalist whose work has been awarded intentionally, including the Alfred Eisenstadt Award (from Columbia University and Life Magazine), Leica’s Oskar Barnack, Picture of the Year International, NPPA Best of Photojournalism, PDN and others for work from China, Japan, Afghanistan and Burma (Myanmar). His most recent iPad book Black Tsunami (FotoEvidence) documenting the Japan tsunami and nuclear crisis took a 2012 PX3 Award.
James is now trying to get his “Black Tsunami” book published as a hardcover book. Check out the Kickstarter page and support this noble cause, and also check out my interview with him below.
See how you can incorporate the barbell theory to improve your street photography, like these guys pumping iron and getting stronger. Photo by Guy Le Querrec, FRANCE 1979. Copyright: Magnum Photos
One of the most influential books that read in my life is “Antifragile” by Nassim Taleb. The book is part philosophy, and part a practical guide on how to live a virtuous life.
One of the central concepts of the book is the “barbell theory.” What is the barbell theory you ask? Well, it is the concept that whenever it comes to things in life– we should approach two extremes (and avoid the boring middle). It is a concept that I have applied to many fields of my life, including street photography. I hope this article can shed a new way on how you see the world, and how you can apply this to your own personal work.
So many choices, so little time. Dotwell Camera in Hong Kong
For the last year and a half or so, I have been shooting my personal street photography on exclusively film. After shooting digital for around 7 years or so, it has been a great experience so far and I have learned a ton.
When I first wanted to start shooting street photography I had a lot of fears. What if the photos don’t turn out? What settings should I use? What film is ideal? Where do I get my film processed? Or should I process it myself? What camera should I use? What chemicals do I need? The list goes on.
I am certainly not an expert when it comes to shooting film, but I wanted to write this article as a primer for those of you who want to get your feet wet (but may not know where to start). I will use my personal experiences and opinions– but of course, feel free to experiment. And if you see any mistakes in this article, please correct me in the comments below and I will revise it.
I am excited to share that I added a new workshop to my schedule: my first charity-based (pay what you can) workshop in Detroit with Brian Day (May 10-11th). 100% of the proceeds will be going to charity. IÂ hope this will be a great way for street photography to give back to the community. You can see more info and register here.
Eric’s Note: Mat Thornton is a 41 year old freelance designer and art director based in sunny Manchester, UK. I first stumbled upon his work in a Hardcore Street Photography thread, and was impressed by his strong graphical form and subtle use of color. Not only that, but how much of his street photography is quiet and doesn’t involve much people. Check out this brief interview with him below, and see some of his superb color work.
The master William Klein surrounded by students and fans, wanting to learn more about his work. Photograph by Guy Le Querrec. Copyright: Magnum Photos
I recently finished a book titled: “Mastery” by Robert Greene. The book is one of those inspirational books which outlines the stories of many famous masters and how they gained mastery. Although the book was a bit cheesy at times, I still found it to be an uplifting read, filled with interesting anecdotes that definitely gives you a huge kick in the ass to go out and to “discover your life task.”
I want to share some of the lessons I’ve learned from the book– and how one can plan to use some of the author’s advice to gain mastery in street photography. Certainly following these steps won’t necessarily cause you to gain mastery, but I certainly think it is a great blueprint.
Eric’s Note: This article was first published on the CSLR blog, but I am reposting it here in-case you didn’t have the chance to read it yet!Â
I first got introduced to photography when I was 18 years old. At my high school graduation ceremony, my mom gave me a little Canon Powershot point-and-shoot. I never considered photography before in my life, but I was amazed by the power I now held in my hands.
I had the power to capture life around me — to photograph those fleeting moments and make them eternal through my camera.
I am excited that a bunch of my good friends and street photography colleagues in Stockholm just founded “CUP” (Contemporary Urban Photography) to raise awareness of street photography in Scandinavia. They have partnered up with In-Public and are presenting an exhibition and workshop with Blake Andrews and Nick Turpin (May 22 – June 26th). All the juicy details below!
There are a few cameras that make me excited. The Ricoh GR-series are one of them.
Ricoh has an almost cult-like following in Japan (and all around the world) for its compact size and versatile functionality. In-fact, Daido Moriyama (one of Japan’s most famous photographer) uses the GR-series cameras exclusively (he used to shoot black and white film, and now digital GR’s). Frankly, I haven’t met a single street photographer who doesn’t like the camera.
I am excited to announce I will be teaching my popular “Introduction to Street Photography Workshop” in New York City 5/17-5/19 featuring Richard Bram from In-Public. In this action packed 3-day weekend workshop, you will learn the fundamentals of street photography, how to create visually compelling images, how to conquer your fear of shooting street photography, as well as tips & tricks how to capture “the decisive moment.”
If you feel your street photography is in a rut, want to step outside of your comfort zone, or travel to New York City — this is the perfect opportunity for you.
Hurry up and register,the deadline for the early-bird discount is May 4th, less than two weeks away!
Last November I shot a campaign for Samsung’s NX20 camera using a video camera strapped to my head to record the footage of me shooting street portraits in Chicago with permission. It was a project that was intensive: I shot for 2 days straight from 5am-noon on little sleep.
The thing I loved most about the project is that although I certainly didn’t take photos that made it into my portfolio — it forced me to step outside of my comfort zone and interact with lots of people on the streets in a short period of time. The fact that the video was being played live in Amsterdam while I was shooting did give me healthy pressure which ended up being a great learning experience.
Kid Sniffing Glue, Street 51 slums. Click to read more
Eric’s Note: This project is by Jonathan van Smit, a street photographer based in Hong Kong. In the past I have interviewed him on the Leica blog and you can follow his work on Flickr. In this post he shares his “Heart of Darkness” project in Phnom Penh. Warning, the photos are explicit and not safe for work. I thank Jonathan for sharing these very touching images with the rest of the community.
Jonathan: How did I start the ‘Heart of Darkness’ project?
Chris Minko, a musician friend of mine in Phnom Penh is the founder, guitarist and song-writer of a local band called ‘Krom’. I was touched by the words in one of his songs, and started a project loosely based on the lyrics.
she no like but she do
no money, no eat
love you like monkey
i no lie, i speak true
‘Yama’ is the God of Death in Sanskrit but in Phnom Penh it’s amphetamine sometimes mixed with heroin. I took these photos of two young women smoking Yama in a back room in the slum behind the ‘Heart of Darkness’ nightclub on Street 51’s red light district. They were beautiful once.
Mike: The street photography blogosphere has been buzzing lately with discussions about ethics. A recent review published by the San Francisco Chronicle started much of the fire. Jorg Colberg posted his own rant. Street photographers responded on their own blogs and online forums. The debate settled into two general camps and shots were fired between the two. Some argued that we should be more sensitive in how we approach people, others ranted that because the law protects us (at least in the United States), we can do as we like. There’s a bit more going on here and at stake. Street photographers, the art world, and the public at large must remember why photography in the public space is protected expression in many countries.
Kyoto Introduction to Film Workshop with Bellamy Hunt, Sean Lotman, and Junku Nishimura. 2013
If you want to conquer your fear of shooting street photography, meet other passionate street photographers, and take your work to the next level consider joining one of my upcoming workshops!
I have taught over 35 workshops, across 15 countries, to over 500+ students who have stepped outside of their comfort zones and have had life-changing experiences. Don’t miss out and see where you would like to join me in my schedule below!
Eric’s Note:Â Jin Kay Lee was born in 1991 and raised in Asbury Park, New Jersey. She currently resides in Brooklyn, New York and attends the School of Visual Arts. I love very much the way in Jin Kay is able to catch odd moments of everyday life with so much humor with a gentle touch. The color really adds to the zaniness of some of the images, and her images are very fresh from other contemporary street photography I see today.
Read more to see her playful color street photography.
Eric’s Note: I’m not sure how I first stumbled upon Baptiste Hauville’s work, but I knew instantly that I liked his unique vision and color street photography. What I love most about his work is the layers and complexity that he adds to his photographs, with strong geometric shapes and layers. Not only that, but a lot of his photos have a punch of humor in them as well. Check out his images and thoughts on street photography below.Â
Baptiste: I’m 27, and currently live in Lyon, one of the biggest cities in France. I hope to soon be a full-time working photographer. I think I first started photography thanks to my dad. I remember playing with his old camera (a black Minolta SRT101) during my childhood. He owned it for almost 30 years! And it still works. What a great piece of metal!
I got into street photography progressively. Actually, when I decided to go out with my camera for the first time, I had no idea that I was shooting street photography (well, trying to shoot street photography).
Erics’ Note: Lukas Vasilikos is one of the most original and talented contemporary street photographers today. Not only does he have a strong grasp of black and white, but he is also able to use color to his advantage as well. His photographs are powerful and show a deep insight into human nature. Read more to see his thoughts on street photography and his amazing work.
Lukas: My name is Lukas Vasilikos. I live and work in Athens, Greece. I started to take photos at 2006 after a photo-seminar with Manos Lykakis. Since my first steps in photography, I liked being out at streets and shooting. I like to communicate with people and use them as actors, playing a performance just for me.
Street photography makes me feel free. All my senses are on alert and I like the “huntingâ€: finding and catching the right moment. Right now I’m also working on a whole different project which is more personal, concerns night shooting. This way I explore emotions like death, loss, and more.
I was sitting at home with my girlfriend Cindy, and I suddenly got a call from my cousin overseas. After two bouts of heart attacks while he was in the hospital, he passed away suddenly. My mom then called me and told me that I had to immediately get on the next plane to Korea to attend my grandfather’s funeral (which was on Sunday).
It was Friday night, and Cindy was fortunately able to help me book a plane that left the next morning. I quickly tossed some clothes into a gym bag, packed my camera and laptop, slept, then left to the airport.
After a 18-hour flight to Busan, I arrived Saturday night in cold and rainy weather. I took a taxi straight to the church where my entire family from all around the globe was getting prepared for the funeral.
In the video above, I talk about my experiences shooting street photography in Dubai, the great joy I had in finding time back home to write, and how I am heading to Korea today for around two weeks. If you would like to meet up while I am in Seoul, write on my Facebook fan page or on Twitter.
Hector: My name is Hector Isaac. I’m 24, Cuban-born living in Miami, FL, I’m a Computer Science student and work as an auditor on the medical field.
Funny enough photography came as way to escape computers, as it involved much of my life from work, to school, and as a hobby as well. It all started back in December of 2011 after I read Life Magazine: A 100 Photographs that Changed the World. Soon after I bought my first camera, theFuji x100, and since then I have spent as much free time as possible photographing on the streets. Recently have been lucky enough to participate on 2 street photography events as a result: Miami International Street Photography and You Are Here II in Los Angeles.
Christian: I have now completed 30 weeks of my 1 year, 1 camera, 1 lens, 1 film project., so a bit more than halftime. I have to say it has been tougher than I thought it would be. On the other side though it has been a very rewarding experience so far. I would like to share my experience of what I have struggled with as well as what I feel I have learnt so far.
Have you ever walked on the streets and saw a moment that you wanted to capture, but you were too scared to take the photograph? Do you want to become more confident shooting in the streets and learn how to better interact with your subjects? Do you want to meet other street photographers that are as equally passionate about street photography or interested in learning like you?
In collaboration with talented Chicago street photographer, Satoki Nagata, I am excited to announce I will be teaching my popular “Introduction to Street Photography Workshop” in Chicago 4/19-4/21. In this action packed 3-day weekend workshop, you will learn the fundamentals of street photography, how to create visually compelling images, how to conquer your fear of shooting street photography, as well as tips & tricks how to capture “the decisive moment.”
The workshop is limited to 15 passionate individuals who want to take their street photography to new heights. The workshop will be an intimate experience in which you will learn solid fundamentals, get honest & constructive criticism on how to improve your photos, and meet other enthusiastic street photographers. This workshop is ideal for beginner or intermediate street photographers.
Register soon, the cut-off date for the early-bird discount is less than two weeks on (Sunday) 4/14!
Eric’s Note: I got introduced to Robert Huibonhoa from talented photographer Geric Cruz. When I look at Robert’s work, I am taken back by the elegance and poetry of his images. Although many of his images are quite somber in feel, he still celebrates and highlights the joys of life through his images. Check out his soulful black and white images (and some of his thoughts on shooting) in the feature below.
Robert: I got started in photography by the influence of my friends. I never took any formal training or attended any workshop, but luckily have been surrounded by, in my opinion, the best image makers in my country. There’s so much to be learned from other photographers vision and style. Most photographers are innately teachers of their craft even if they don’t know it. I still continue to look to their work for inspiration.
Eric’s Note: This article is by Josh White, a street photographer based in Toronto. I first met Josh in Korea about two years ago, where we taught a workshop together for Leica Camera Korea. Josh is also going to be a co-instructor in my upcoming workshop in Toronto. You can register intent here.Â
Josh: When Eric asked me to contribute to his blog with my thoughts on mobile photography, I had just seen the article “Mall Series,” by Stephen DiRado. The idea of shooting in a shopping mall was something I hadn’t thought much of. Â It’s an interesting place though, the mall.
It also coincides well with mobile photography and something I have been going through.
Since coming back to Toronto from Seoul nearly a year and a half ago I have struggled to find the inspiration I had during my four plus years in Korea. In Korea, every moment I stepped out of my apartment I felt inspired. I walked the streets at night channeling Daido Moriyama’s “stray dog.” I shot the same areas all the time and never once felt bored or uninspired.
When I was in Arles photo festival last year, I met a photographer who introduced me to a book that he just purchased, titled: “The Mexican Suitcase.” He was jumping up and down with excitement, barely able to contain his enthusiasm.
I was curious what made the book so unique– and I inquired. He then told me the incredible story of the “The Mexican Suitcase“, which were 3 boxes containing more than 4,500 negatives, covering the entire history of the Spanish civil war from 1936 to 1939 which went missing for over 70 years. The negatives included the work of Robert Capa, Chim, and Taro– and gave priceless insights into their working methodologies.
Eric’s Note: When I was in Manila in January, I met Veejay Villafranca at an exhibition of Carlo Gabuco‘s paintings. I heard great things about Veejay’s work, and when I looked at some of his images on his iPhone I was blown away. Not only does Veejay have a great eye for composition and imagery, but a great ability to connect with his subjects on a deeper and more emotional level. He is definitely one of the finest photographers in Manila, make sure to check out some his work below.
Eric’s Note: Chris Porsz is a street photographer based in Peterborough and has recently published a book on his photos from the 1980’s titled: “New England.” In this interview below, I talk to him about how he got started in street photography, how he embarked on his project, and how he eventually put it together as a book. Definitely an in-depth interview you don’t want to miss! Â
Chris: We share a birthday Eric but I go way back to the early hours of January 31, 1953, safe within the walls of Peterborough’s maternity unit while the worst floods of the 20th century visited our shores; ships went down and more than 300 people drowned.
Just eight years earlier, my mother, Krystyna, had teetered on the brink of death in a Nazi concentration camp. She and her two sisters, Eda and Regina, used to be called ‘the three beauties’. They led happy lives in Warsaw but the family was torn asunder by war. My mother’s father died in the sewers, her mother Sarah, Regina and her five-year-old daughter Lilliana were murdered in Majdanek concentration camp, Lublin. Eda was sent to Siberia by the Russians and that is where my cousin Vicki was born.
As street photographers, the gear we use is very important. It shows our identity, how much money we have in our bank accounts, and how serious we are about our street photography.
The bigger the lens you shoot with street photography, the better. I personally recommend the Sigma 200-500mm lens for street photography. Why? Let me explain in this article below with these 500 copyrighted tips below!
I first heard about William Eggleston through my good friend and talented street photographer Charlie Kirk about a year and a half ago. He mentioned that he just purchased a copy of “Chromes” by William Eggleston– and that it was one of his favorite photographic books. I asked Charlie what the book was, and he mentioned it was a 3-set book published by Steidl (I would argue the best publisher in the world) with some of the loveliest color photographs that, printed in the book, look more like fine art prints than just reproductions.
I was very excited to hear this, as I was getting more and more interested in color. I searched it instantly on Amazon, and was taken back that it cost ~300 USD. I have never spent more than 100 USD on a photo book, and the thought of spending so much was quite daunting.
