{"id":20656,"date":"2014-09-23T13:44:06","date_gmt":"2014-09-23T20:44:06","guid":{"rendered":"http:\/\/erickimphotography.com\/blog\/?p=20656"},"modified":"2014-09-23T13:44:06","modified_gmt":"2014-09-23T20:44:06","slug":"15-lessons-david-alan-harvey-taught-street-photography","status":"publish","type":"post","link":"https:\/\/erickimphotography.com\/blog\/2014\/09\/23\/15-lessons-david-alan-harvey-taught-street-photography\/","title":{"rendered":"15 (More) Lessons David Alan Harvey Has Taught Me About Street Photography"},"content":{"rendered":"

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You can see the original article I wrote on David Alan Harvey here<\/a><\/em>.<\/p>\n

I just finished a week-long workshop with David Alan Harvey as a part of the Provincetown Magnum Days event. I have already written an article on the lessons I\u00e2\u20ac\u2122ve learned from David Alan Harvey\u00e2\u20ac\u201c but wanted to use this opportunity to further expand on what I\u00e2\u20ac\u2122ve learned from him, and also add some new things I\u00e2\u20ac\u2122ve learned. Here I go!<\/p>\n

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1. Be sophisticated<\/h2>\n

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I want to become the best photographer I possibly can. This means that I can no longer compare my work to photographers on Flickr, Facebook, and Instagram. I want to compare my work to the Magnum photographers\u00e2\u20ac\u201c and get brutally honest feedback and critique from them. There is a saying in Sociology: \u00e2\u20ac\u0153You are the average of the 5 closest people to you.\u00e2\u20ac\u009d If I surround myself with only great photographers\u00e2\u20ac\u201c I will become great (or aspire to be great) via osmosis. It is like stepping into a perfume store\u00e2\u20ac\u201c I will naturally gain the scent (by being around others).<\/p>\n

But simply being around the masters isn\u00e2\u20ac\u2122t enough. I need to consume, inhale, and digest the work of the greats. I highly admire David Alan Harvey\u00e2\u20ac\u2122s color street photography\u00e2\u20ac\u201c and I want to elevate my color work to the next level.<\/p>\n

Harvey shared during the workshop, \u00e2\u20ac\u0153Nowadays\u00e2\u20ac\u201c photographers must be sophisticated.\u00e2\u20ac\u009d He shared how so many photographers create great work now, and it is very easy to take a \u00e2\u20ac\u0153technically proficient\u00e2\u20ac\u009d image. In fact, it is easy to take a great image now. But that isn\u00e2\u20ac\u2122t enough\u00e2\u20ac\u201c a photographer needs to learn how to make a body of work that stands on its own\u00e2\u20ac\u201c a series of strong images. Kind of like a necklace strung together with pearls (pearls being photographs).<\/p>\n

Therefore when he started the workshop and gave us all critiques\u00e2\u20ac\u201c he told us that he going to give us \u00e2\u20ac\u0153tough love\u00e2\u20ac\u009d. He told us that he \u00e2\u20ac\u0153doesn\u00e2\u20ac\u2122t bullshit people\u00e2\u20ac\u009d \u00e2\u20ac\u201c and wanted to critique our work compared to Magnum photographers, to give people a fair assessment of how their work stacks up in the whole field of photography.<\/p>\n

It isn\u00e2\u20ac\u2122t necesarily fair to compare someone who has only been shooting street photography for 6 months (against a Magnum photographer). I still do firmly believe that a photographer should compete against him\/herself\u00e2\u20ac\u201c to be the best photographer he\/she can become<\/strong>.<\/p>\n

But at the same time\u00e2\u20ac\u201c you need to ask yourself: \u00e2\u20ac\u0153How good do I really want to become?\u00e2\u20ac\u009d<\/p>\n

I want to become the best photographer I possibly can\u00e2\u20ac\u201c and I feel that trying to become more \u00e2\u20ac\u0153sophisticated\u00e2\u20ac\u009d in my work is what is going to help me get there.<\/p>\n

So during the workshop with Costa Manos and David Alan Harvey, I wasn\u00e2\u20ac\u2122t looking for pats on the back. Sure it is a huge ego boost to get a pat on the back, but it is brutally honest feedback and critique which I needed.<\/p>\n

So when getting feedback and critique from David and the other Magnum photographers\u00e2\u20ac\u201c I asked them to tear apart my work and be brutally honest with me. When they critiqued my work, I didn\u00e2\u20ac\u2122t defend myself or my work. I just kept my mouth shut, and nodded. I asked them to help me find holes in my work, and advice where I could take my work.<\/p>\n

Takeaway point:<\/h3>\n

Ask yourself: \u00e2\u20ac\u0153How good do I want to be?\u00e2\u20ac\u009d Think to yourself\u00e2\u20ac\u201c do you really want to become a great photographer? Are you willing to put in the hard work, blood, sweat, and tears to elevate your photography to the next level \u00e2\u20ac\u201c and possibly be on the same level as Magnum photographers?<\/p>\n

I think external recognition is bullshit and a way to depression and anxiety. So become the best photographer you possibly can, and try to make your work more sophisticated.<\/p>\n

How do you create more sophisticated work? Here are some tips of things I recommend avoiding:<\/p>\n

a) Avoid Cliches<\/h4>\n

You can start off by avoiding cliches. Avoid simple black and white photos of people walking past billboards.<\/p>\n

b) Avoid Single Images<\/h4>\n

David Alan Harvey is only interested in series, projects, and photo-essays.<\/p>\n

I see a lot of photographers online just trying to create strong single-images that will get them a lot of \u00e2\u20ac\u0153Likes\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Favorites\u00e2\u20ac\u009d on social media.<\/p>\n

While I do think there is a lot of merit behind strong single images, I still feel that the greatest photographers are the ones who put together a body of work.<\/p>\n

A body of work is a series of images that has a statement about yourself, about society, or a message you are trying to get across to your viewer. Very rarely do photographers become great just based off of a bundle of disjointed single-images. Of course there are exceptions (Elliott Erwitt<\/a> and Steve McCurry), but I still feel the best examples are the ones with bodies of work (Josef Koudelka<\/a> and \u00e2\u20ac\u0153Gypsies<\/a>\u00e2\u20ac\u009d, Martin Parr<\/a> and \u00e2\u20ac\u0153The Last Resort<\/a>\u00e2\u20ac\u009d, David Alan Harvey and \u00e2\u20ac\u0153Divided Soul\u00e2\u20ac\u009d).<\/p>\n

c) Avoid showing bad images<\/h4>\n

I think to build sophistication in your work\u00e2\u20ac\u201c you don\u00e2\u20ac\u2122t want to show bad images. You need to edit ruthlessly (only share your best work) \u00e2\u20ac\u201c and let your images sit and marinate a long time before sharing them.<\/p>\n

For example, I have a simple rule of thumb: it takes me at least a year before I can emotionally disconnect myself from a photograph to realize whether it is good or not.<\/strong> This will also give you enough time to sit down with other photographers face-to-face to get an honest appraisal and critique of your work.<\/p>\n

d) Know what makes a great photograph (and body of work)<\/h4>\n

To become a more sophisticated photographer, you first need to know what makes a great photographer.<\/p>\n

As a simple assignment, do the following (inspired by Charlie Kirk<\/a>: Go to the magnumphotos.com<\/a> website and look at all the photographs in all the photographer\u00e2\u20ac\u2122s portfolios. Look at each body of work and ask yourself: \u00e2\u20ac\u0153What makes their work so great? What makes their work better than mine? How has their single images resonated with many others? What statements do their bodies of work say? Which of their photos do I not appreciate or understand, but why do others like them?\u00e2\u20ac\u009d<\/p>\n

I also highly encourage spending as much money as you possibly can on photographic education: on photography books, workshops, and travel. Of course don\u00e2\u20ac\u2122t just go out and buy a 1000 books (and not read any of them) \u00e2\u20ac\u201c but surround yourself with great photography and inspiration. Avoid gear-review sites, gear rumor sites\u00e2\u20ac\u201c anything that will lead to G.A.S. (gear acquisition syndrome). Rather, whenever you get an urge to buy a new camera remember: \u00e2\u20ac\u0153Buy books, not gear.\u00e2\u20ac\u009d<\/strong><\/p>\n

2. Absorb inspiration from outside arts<\/h2>\n

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David Alan Harvey gains his biggest inspiration from things outside of photography. In fact, he says he isn\u00e2\u20ac\u2122t very inspired by photographers. He gained his largest inspiration from literature, paintings, and music.<\/p>\n

He also loved French painters, because they could \u00e2\u20ac\u0153make something from nothing.\u00e2\u20ac\u009d Kind of like street photography\u00e2\u20ac\u201c you don\u00e2\u20ac\u2122t need fancy models, double rainbows, sunsets to make interesting photos. You can just go out on the streets, and snap whatever interests you.<\/p>\n

Using the literature analogy\u00e2\u20ac\u201c he sees himself as an author, not a photographer. He sees himself as an image-maker, and puts images together to have a larger context as a theme. Kind of how a musician puts his\/her music into an album\u00e2\u20ac\u201c into a larger body of work, as a larger theme.<\/p>\n

Even when it comes to composition, he sees it like \u00e2\u20ac\u0153writing sentences.\u00e2\u20ac\u009d However just because you write good sentences doesn\u00e2\u20ac\u2122t mean you can write a book.<\/p>\n

He therefore sees putting together photos as the most important thing (rather than just making strong single-images). In a book, you need a narrative: you need a beginning, a middle, and end. That isn\u00e2\u20ac\u2122t possible with just one sentence.<\/p>\n

Similarly in photography if you want to build a narrative\u00e2\u20ac\u201c you need a series of images that stitch together a beginning, a middle, and an end. And the sequencing matters and is important.<\/p>\n

Takeaway point:<\/h3>\n

At the end of the day, photography is just another form of art and communication. And with photography\u00e2\u20ac\u201c you want to communicate something to your viewer. Whether it is an idea, an emotion, or a concept.<\/p>\n

I think the best photographers are the ones that gain their inspiration from outside and disparate fields (music, literature, painting, sculpture, philosophy, sociology, economics, psychology, etc).<\/p>\n

They say that creativity is just putting together two different concepts and ideas\u00e2\u20ac\u201c and synthesizing them into some new and novel way.<\/p>\n

So for me, I actually gain my biggest influence from philosophy, psychology, and sociology. In my street photography\u00e2\u20ac\u201c I am trying to understand humanity and social interactions. At the end of the day, I see myself less as a photographer\u00e2\u20ac\u201c and more of a sociologist with a camera as my research tool.<\/p>\n

So don\u00e2\u20ac\u2122t feel constrained that you just have to look at photography to gain inspiration.<\/p>\n

My suggestion: follow your curiosity<\/strong>. If there is anything that interests you, follow it like a dog follows a scent. Be obsessive. Consume the arts like you would if you were hungry and suddenly discovered a buffet in the middle of a desert. If you somehow like interior decoration and design, look at that and study it. Perhaps that can shape how you create the inner-space in your photographs. If you are into engineering or science, perhaps that can help improve your compositions in your photography. If you like poetry, perhaps that can help your editing and sequencing of images. If you like history, perhaps you can see your photographs as historical documents.<\/p>\n

3. Limitations are freedom<\/h2>\n

Nowadays we hate limits. We want to be \u00e2\u20ac\u0153limit-less\u00e2\u20ac\u009d. We don\u00e2\u20ac\u2122t want any constraints in our life, our time, or relationships, or our photography.<\/p>\n

However one thing that really inspired me was how David Alan Harvey said: \u00e2\u20ac\u0153Limits are freedom.\u00e2\u20ac\u009d<\/p>\n

a) Limitations in equipment<\/h3>\n

For example, he only shoots with one lens (roughly a 35mm equivalent). This means that he has already made the decision what size his canvas is (if you use a painting analogy). Sometimes painters get stressed out because they don\u00e2\u20ac\u2122t know what size canvas to paint on. But if you already pre-select your canvas size, you paint around those constraints.<\/p>\n

The same thing in photography: by choosing just one camera and one lens: you set a limitation on yourself\u00e2\u20ac\u201c which ultimately gives you more freedom. You know what equipment you are bounded to (so there is no stress in terms of what camera or lens to use that day). And once you realize that limitation, you no longer have any excuses\u00e2\u20ac\u201c you just go out and shoot.<\/p>\n

He even said the following:<\/p>\n

\u00e2\u20ac\u0153Too much choices will screw up your life. Work on one thing, then expand on your canvas.\u00e2\u20ac\u009d<\/p><\/blockquote>\n

Another nice example: Harvey told us that limiting his equipment is liberating, in the sense that he can dance while drinking a beer. He said if you have lots of cameras and a zoom lens, you can\u00e2\u20ac\u2122t dance.<\/p>\n

So our best asset as creatives and photographers is this: our limits.<\/p>\n

b) Limitations in area<\/h3>\n

David Alan Harvey also limits the areas in which he shoots. For example, when he was photographing the world cup in Brazil, he did most of his shooting in the one mile or so around his hotel. He said this helped him in many ways: he conserved his energy (he isn\u00e2\u20ac\u2122t as young as he used to be) and I believe it forced him to be more limited with the canvas or area he could photograph.<\/p>\n

I can relate with this example. About 3 years ago, Jacob Patterson from the ThinkTank gallery in Downtown LA came up with a street photography competition\/exhibition: You were only allowed to photograph on one square-block (both sides of the street) in the Fashion District in Downtown LA. And you had to present your best 3 images for the show.<\/p>\n

At first, it was quite frustrating. I wanted to have more freedom to roam around the streets. But soon, I discovered the benefits: you became to know the area really damn well, built friendships with the locals, and also forced yourself to be creative in such a limited area, space, and canvas. Ultimately myself (and others) ended up creating strong work in about a month of just shooting that one square block.<\/p>\n

Sometimes I want to be limitless in terms of the area that I shoot. I get bored quite easily with an area\u00e2\u20ac\u201c I love novelty.<\/p>\n

However I am starting to realize the benefits of limiting the location or area you shoot. It helps you to get to know an area much better, and to build a body of work with more consistency. The best projects I have seen are generally on one subject matter, or one location.<\/p>\n

c) Limit your direction<\/h3>\n

Also when David Alan Harvey sees a good scene he wants to photograph, he limits his direction.<\/p>\n

For example, when he was working on a book on Hip Hop Culture \u00e2\u20ac\u201c he was able to gain access to a strip club in the Bronx in NYC. He followed his guys into the club, and kept his camera facing the same direction the entire time. The guys soon started to ignore his presence, and all the while\u00e2\u20ac\u201c David is working the scene. I think in the few hours he was there, he took over 600+ photographs.<\/p>\n

I think that when you see a good scene in street photography (an interesting situation, wall, or area) \u00e2\u20ac\u201c keep your eyes fixated on that area, and see how you can milk a great photo of that area. You perhaps might want to build an interesting foreground, middleground, and background. You wait for the elements and subjects in the background to move around, until you get the perfect arrangement of elements in the frame.<\/p>\n

3. Don\u00e2\u20ac\u2122t be easily satisfied<\/h2>\n

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I think if you want to truly become a great photographer\u00e2\u20ac\u201c you can\u00e2\u20ac\u2122t be easily satisfied.<\/p>\n

One of the things that David shared with us is the downside of shooting digital: in the sense that a lot of young photographers are self-satisfied too quickly by looking at the LCD.<\/p>\n

David shared the biggest error many young photographers make: stopping too soon<\/strong>.<\/p>\n

For example, when he sees a good photographic scene\u00e2\u20ac\u201c he will take dozens (or even hundreds) of photographs of it (if necessary). He shoots digital now, and it has given him even more freedom to take more photos of a scene\u00e2\u20ac\u201c to truly get that perfect image.<\/p>\n

The problem with looking at your LCD screen while shooting (\u00e2\u20ac\u0153Chimping\u00e2\u20ac\u009d) is that it kills your flow. By seeing your LCD screen too quickly, you are too easily satisfied with what you have (rather than thinking if you can get a better shot). This is actually one of the biggest benefits of shooting digital for me\u00e2\u20ac\u201c to not become easily satisfied, to keep up the hustle because I am unsure whether I \u00e2\u20ac\u0153got the shot.\u00e2\u20ac\u009d<\/p>\n

I think there is a big \u00e2\u20ac\u0153myth of the decisive moment\u00e2\u20ac\u009d in street photography\u00e2\u20ac\u201c in the sense that we think that the great photos of history were just in 1 shot. In-fact, if you look at Magnum Contact Sheets, you can see that the greatest photos in history often take many attempts of photographers \u00e2\u20ac\u0153working the scene\u00e2\u20ac\u009d to get the perfect image.<\/p>\n

Takeaway point:<\/h3>\n

Don\u00e2\u20ac\u2122t be easily satisfied with your photography. As Steve Jobs said, \u00e2\u20ac\u0153Stay hungry, stay foolish.\u00e2\u20ac\u009d Keep up the hustle. Keep pushing your boundaries. Don\u00e2\u20ac\u2122t be satisfied with what you already have\u00e2\u20ac\u201c aspire to become even greater\u00e2\u20ac\u201c to become even a more amazing photographer.<\/p>\n

The second you are satisfied with your photography is the second you become complacent. I think the biggest secret of success in photography (and life) is this: avoid complacency<\/strong>. Continue to create even better work, reinvent yourself, your process\u00e2\u20ac\u201c whatever will take you to the next level.<\/p>\n

And don\u00e2\u20ac\u2122t chimp.<\/p>\n

As David Alan Harvey said during the workshop, “Don\u00e2\u20ac\u2122t fucking stop. Don\u00e2\u20ac\u2122t stop short. Squeeze the last drop from the lemon.”<\/strong><\/p>\n

4. On taking your photos to the next level<\/h2>\n

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This point expands on the previous points a bit.<\/p>\n

David Alan Harvey works hard. Really hard. When he is out shooting, he will put in 14\u00e2\u20ac\u201c16 hour days. However what he is really looking for is only 3 good situations. And once he finds those situations, he will \u00e2\u20ac\u0153work the scene forever.\u00e2\u20ac\u009d In-fact, he mentions that a lot of photographers he knows get frustrated with him\u00e2\u20ac\u201c because he will take forever to just make one photograph (by shooting dozens if not hundreds).<\/p>\n

He wants to take his photos one step further. He told us an analogy of doing a high jump: an 8 foot high-jump is a good jump. But \u00e2\u20ac\u0153\u00e2\u20ac\u00a6if 20 people can jump that high, you want the edge. You want to jump even higher.\u00e2\u20ac\u009d<\/p>\n

Also on the previous point\u00e2\u20ac\u201c he doesn\u00e2\u20ac\u2122t waste his energy moving around too much around a city. He will find a few good areas and milk it all its worth. He shared the advice:<\/p>\n

\u00e2\u20ac\u0153Don\u00e2\u20ac\u2122t walk and look for photos. Don\u00e2\u20ac\u2122t waste energy. Stay somewhere until you absolutely nail it.\u00e2\u20ac\u009d<\/p><\/blockquote>\n

He wants to avoid complacency. He said:<\/p>\n

\u00e2\u20ac\u0153Don\u00e2\u20ac\u2122t go for \u00e2\u20ac\u02dcgood enough\u00e2\u20ac\u2122. If you are a racecar driver, you want to drive it a 15th of a second faster. A little better is a whole lot better.\u00e2\u20ac\u009d<\/p><\/blockquote>\n

David Alan Harvey mentions the importance of going for \u00e2\u20ac\u0153top-level photos.\u00e2\u20ac\u009d He told us (I am paraphrasing):<\/p>\n

\u00e2\u20ac\u0153Some people have a tiny edge. It shows, because they are the ones who will get their book published. So study the top people, don\u00e2\u20ac\u2122t set your standards by a Flickr group. Study the masters, from the past to the present. Study the difference between the best photographers. Critique your work compared to the best. Don\u00e2\u20ac\u2122t dumb it down. Don\u00e2\u20ac\u2122t just go for \u00e2\u20ac\u02dcok\u00e2\u20ac\u2122. Be better than photos you\u00e2\u20ac\u2122ve already seen. Go for better than your own best.\u00e2\u20ac\u009d<\/p><\/blockquote>\n

Takeaway point:<\/h3>\n

Imagine yourself as an athlete (not like a photographer). You want a small edge\u00e2\u20ac\u201c but it is that small edge in a top-performance that will make all the difference.<\/p>\n

If you are an olympic weight-lifter and you can deadlift 600 pounds, deadlifting 602 pounds can make all the difference.<\/p>\n

If you are a sprinter and you can run 1\/100th of a second faster\u00e2\u20ac\u201c that makes all the difference.<\/p>\n

If you are a writer and you can out-publish your peers by 1 book a year, you have the edge.<\/p>\n

If you are a photographer and you make your work just a little bit better than all the other photos you have seen before\u00e2\u20ac\u201c you have the edge.<\/p>\n

Avoid \u00e2\u20ac\u0153good enough\u00e2\u20ac\u009d \u00e2\u20ac\u201c aim for better.<\/p>\n

5. Have something to say<\/h2>\n

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As an author\u00e2\u20ac\u201c you want to have something to say. Being a photographer is the same thing. You don\u00e2\u20ac\u2122t want to just take photos of whatever on the streets\u00e2\u20ac\u201c just because it is weird, funny, or amusing. You want to say something deeper.<\/p>\n

The best authors pour their hearts and souls into their work. They show the world their unique perspective, their vision\u00e2\u20ac\u201c and make themselves vulnerable.<\/p>\n

As a photographer\u00e2\u20ac\u201c you want to share with the world your unique vision. You don\u00e2\u20ac\u2122t want to just imitate others, and imitate the work you have seen the world.<\/p>\n

How do you see the world differently? How is your vision unique? What do you want to say (that hasn\u00e2\u20ac\u2122t been said before)?<\/p>\n

Do you want to become a great photographer? Because it takes a lot of work. Do you want to take your photography to the upper-level, or do you just want to be a hobbyist? What do you have to say about the world?<\/p>\n

David Alan Harvey said this perfectly: \u00e2\u20ac\u0153You can\u00e2\u20ac\u2122t be an author unless you have something to say.\u00e2\u20ac\u009d<\/p>\n

He also told us this advice (once again paraphrasing):<\/p>\n

\u00e2\u20ac\u0153End up looking like your pictures. Magnum photographers photograph who they are. Alex Webb has an intellectual approach. He and Henri Cartier-Bresson pull back from people, and don\u00e2\u20ac\u2122t drink beers with people (while I do). You must show your personality in your photos. Cindy Sherman, Dwayne Michaels, and Sally Man do this well.\u00e2\u20ac\u009d<\/p><\/blockquote>\n

Takeaway point:<\/h3>\n

I don\u00e2\u20ac\u2122t think there is anything such as \u00e2\u20ac\u0153objectivity\u00e2\u20ac\u009d in photography. You deicde what to include in the frame, and what to exclude. Therefore photography is your own unique vision and perspective of the world. You choose the focal length, where to stand, and when to click the shutter.<\/p>\n

As a street photographer, you don\u00e2\u20ac\u2122t have the same ethical duties as a photojournalist or documentary photographer. You want to give your unique viewpoint.<\/p>\n

If you can see yourself through your images\u00e2\u20ac\u201c you have accomplished your goal.<\/p>\n

Henri Cartier-Bresson was first a painter, then a photographer. He called his photographs just as small sketches from everyday life. He was more interested in drawing\/painting than photography. He also was immensely obsessed with composition, and it shows in his work.<\/p>\n

Daido Moriyama\u00e2\u20ac\u2122s photos are dark, edgy\u00e2\u20ac\u201c and have a sense of loneliness, despair, and confusion. This works well in his gritty black and white work\u00e2\u20ac\u201c in which he is wandering.<\/p>\n

Jacob Aue Sobol craves intimacy. You see it in his images. He gets close to his subjects\u00e2\u20ac\u201c he has them trust him. He is very direct and head-on.<\/p>\n

Bruce Gilden is a rough and tough New Yorker. He is criticized the way he shoots, but that is who he is. He is a brash and upfront person.<\/p>\n

Martin Parr is a social critic. You can see it through his images, that aren\u00e2\u20ac\u2122t positive portrayals of humanity and society.<\/p>\n

So what about your vision is unique\u00e2\u20ac\u201c and what are you trying to say?<\/p>\n

6. Capture soul and emotion<\/h2>\n

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David Alan Harvey was a fan of Diane Arbus\u00e2\u20ac\u201c in the sense that she \u00e2\u20ac\u0153\u00e2\u20ac\u00a6got the souls of people in photos.\u00e2\u20ac\u009d<\/p>\n

He also told us the following (paraphrased):<\/p>\n

\u00e2\u20ac\u0153You need photos that \u00e2\u20ac\u02dcscreams something.\u00e2\u20ac\u2122 You need hate, sadness, fear, and emotion. You need extreme blood or death, or go very very quiet and bland, or with mysterious photos. You need to go one way or the other. Photos can be esoteric or specific. Don\u00e2\u20ac\u2122t stop short.\u00e2\u20ac\u009d<\/p><\/blockquote>\n

Harvey also encouraged us the following:<\/p>\n

\u00e2\u20ac\u0153Work on something you\u00e2\u20ac\u2122re personanlly connected to. Composing light and shadows\u00e2\u20ac\u201c fuck that. Have something to say.\u00e2\u20ac\u009d<\/p><\/blockquote>\n

Takeaway point:<\/h3>\n

I think a photo without emotion is dead. Sure you can make all these fancy layers, compositions, lights, colors, shadows, etc in photos\u00e2\u20ac\u201c but if they don\u00e2\u20ac\u2122t have some deeper sense of what it means to be human, who cares?<\/p>\n

I think the best photos are the ones that are emotional\u00e2\u20ac\u201c that have soul. Photos that hit you in the heart, and burn themselves into your mind.<\/p>\n

As human beings, we are an emotional and social being. If we can harness that visceral part of what it means to be a human being through our images\u00e2\u20ac\u201c it will create much more memorable and meaningful images.<\/p>\n

7. Don\u00e2\u20ac\u2122t fuck up<\/h2>\n

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One of the students in the workshop works as a wedding photographer. David Alan Harvey said that wedding photographers actually make strong photographers\u00e2\u20ac\u201c because of the following rationale (paraphrased):<\/p>\n

\u00e2\u20ac\u0153Weding photographers are good, they need to get the moment. They can\u00e2\u20ac\u2122t fuck up. Wedding photographers can\u00e2\u20ac\u2122t be lazy, they need to go in for the moment, and understand the light. There are now a lot of good photographers that come from wedding photography. The wedding photographers are the new photojournalists of the times. The old generation were all newspaper photographers (but they are dying off).\u00e2\u20ac\u009d<\/p><\/blockquote>\n

David Alan Harvey also told us the importance of having pressure and discipline in photography (paraphrased):<\/p>\n

\u00e2\u20ac\u0153You can\u00e2\u20ac\u2122t get good photos without discipline, hard work, and pressure. You need to be forced a little bit \u00e2\u20ac\u201c you need a little pressure to make good pictures.\u00e2\u20ac\u009d<\/p><\/blockquote>\n

Takeaway point:<\/h3>\n

I have once heard the quote, \u00e2\u20ac\u0153Pressure makes diamonds.\u00e2\u20ac\u009d<\/p>\n

I believe it firmly. If I didn\u00e2\u20ac\u2122t have an audience for my photography \u00e2\u20ac\u201c I wouldn\u00e2\u20ac\u2122t work hard to make good images, and edit brutally. Similarly, one of the biggest reasons I work hard writing and blogging is because I know that I have you as a reader to please and help\u00e2\u20ac\u201c and a community that depends on me to write consistently.<\/p>\n

Wedding photographers often get a bad rep. I know a lot of people are snobs towards wedding photography. But honestly (if you shoot weddings and are looked down by other photographers) \u00e2\u20ac\u201c fuck them. You work hard. You have the pressure to make strong images to please your clients. Avoid snobby photographers.<\/p>\n

But anyways going back to the point\u00e2\u20ac\u201c remember that life isn\u00e2\u20ac\u2122t easy. I think it is Marcus Aurelius who once said, \u00e2\u20ac\u0153Life is more like wrestling than dancing.\u00e2\u20ac\u009d<\/p>\n

If you want to truly become a great photographer (not everyone does) \u00e2\u20ac\u201c you need to push yourself, to have pressure, and to have constraints.<\/p>\n

For example, I know a lot of academics who cannot get work done without a deadline. Similarly, if you set a limit on the time it will take you to work on a project (for example a week-long photography workshop), you will be forced and pressured to make good photos.<\/p>\n

For example, when I did the workshop with David Alan Harvey, I technically only had 2 nights to work on my project. I was quite stressed and pressured\u00e2\u20ac\u201c but it forced me to work hard and make good photos. I ended up going to this one bar in Provincetown called \u00e2\u20ac\u0153The Old Colony\u00e2\u20ac\u009d \u00e2\u20ac\u201c had a few beers, took along my camera, and broke outside of my comfort zone to make portraits of people inside the bar. I talked to strangers I normally wouldn\u00e2\u20ac\u2122t feel comfortable with\u00e2\u20ac\u201c but ended up having a great time with them, having introspective conversations, while also making good photos.<\/p>\n

8. Keep it simple<\/h2>\n

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One of the biggest takeaways I got from the workshop with David Alan Harvey (and pieces of advice about life) was to keep it simple.<\/p>\n

He told us that almost all of the great photo projects in history have had a pretty simple concept\u00e2\u20ac\u201c but were executed pretty well. Nowadays a lot of photographers go for very complex concepts in their photography. But it is the simple that gives you focus and direction.<\/p>\n

For example, David Alan Harvey, Costa Manos, Susan Meiselas all liked my \u00e2\u20ac\u0153Suits\u00e2\u20ac\u009d project\u00e2\u20ac\u201c because it was simple (I photograph suits), and it had a consistent mood (gloomy, depressing). They all encouraged me to continue to work on it \u00e2\u20ac\u201c as it was a simple yet strong project that I could do well.<\/p>\n

Takeaway point:<\/h3>\n

When you are working on a photography project\u00e2\u20ac\u201c avoid the art school approach. Don\u00e2\u20ac\u2122t go for some super-grand idea or concept. Keep it simple. Make photos that stick to your theme, and are easily understandable (but done well).<\/p>\n

One approach is \u00e2\u20ac\u0153typology<\/strong>\u00e2\u20ac\u009d\u00e2\u20ac\u201c in which you literally photograph a single subject matter. So for example in my \u00e2\u20ac\u0153Suits\u00e2\u20ac\u009d project\u00e2\u20ac\u201c I just photograph men wearing suits (suit and tie). For Josef Koudelka\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Gypsies\u00e2\u20ac\u009d project\u00e2\u20ac\u201c he traveled, lived, and photographed the Roma people (politically correct term for \u00e2\u20ac\u02dcGypsies\u00e2\u20ac\u2122) for 10 years.<\/p>\n

Another approach is location-based<\/strong>. You can just photograph and document one area or location. For example, in Martin Parr\u00e2\u20ac\u2122s \u00e2\u20ac\u0153The Last Resort\u00e2\u20ac\u009d \u00e2\u20ac\u201c he photographed Brighton Beach in the UK for a few summers. Another example, William Eggleston has done most of his photography in his hometown\u00e2\u20ac\u201c and the project and theme of his work is just based on that area.<\/p>\n

9. Squeeze personal work from professional work<\/h2>\n

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I have a lot of photography friends who work as professional photographers\u00e2\u20ac\u201c and get burnt out and tell me that they have no time to work on personal work.<\/p>\n

However one great insight I gained from DAH was this: \u00e2\u20ac\u0153Squeeze your personal work from your professional work.\u00e2\u20ac\u009d<\/p>\n

David Alan Harvey told us it was a myth that all of these Magnum photographers would have unlimited time to work on their personal photography on the side. Rather, they would try to squeeze in their personal work (while on assignment), or in-between assignments.<\/p>\n

For example, Elliott Erwitt has a lot of his professional work done during commerical shoots (when he sees something wacky or strange happening). I even know some photographers who make interesting candid \u00e2\u20ac\u02dcstreet photos\u00e2\u20ac\u2122 while photographing a wedding (on the side).<\/p>\n

If you work in a business (or something non-photography-related) try to squeeze in your personal work in your everyday life. If you work in an office, work on a project on offices (see Lars Tunbjork\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Office\u00e2\u20ac\u009d book). If you work as a doctor, see if you can document your daily life as a doctor\u00e2\u20ac\u201c or perhaps even photograph your patients (outside of the office). If you work as a teacher, photograph your students (if possible). If you are a student, do a self-documentary series of your life of a student, and photograph your friends.<\/p>\n

I think the secret to being a great photographer is to have your photography accomodate your everyday life\u00e2\u20ac\u201c rather than trying to accomodate our everyday life for your photography.<\/p>\n

Personally even though I am technically a \u00e2\u20ac\u0153full-time street photographer\u00e2\u20ac\u009d in the sense that I make my living teaching street photography workshops, I very rarely have huge blocks of time to just wander and shoot. Like you, I have to answer emails, do my finances, go to the grocery for milk and eggs, run errands, fill the car with gas, drop off Cindy to class, and all the other things of everyday life.<\/p>\n

So what I do is photograph every opportunity I can. I will go into a store shopping for a watch, and ask the salesperson if I can take their portrait. I will be on the way driving somewhere, and see an interesting urban landscape\u00e2\u20ac\u201c pull over, and take a photo. I will sometimes be stuck in traffic, and photograph from inside my car (looking out, similar to Lee Friedlanders\u00e2\u20ac\u2122 \u00e2\u20ac\u0153America by car\u00e2\u20ac\u009d series). If I am at dinner with Cindy, I will try to take an artistic portrait of her.<\/p>\n

Regardless of how busy you are, don\u00e2\u20ac\u2122t make excuses\u00e2\u20ac\u201c make photos<\/strong>.<\/p>\n

10. Finish<\/h2>\n

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According to David Alan Harvey, another big mistake that a lot of photographers make is the following: They don\u00e2\u20ac\u2122t stick to something long enough, and they don\u00e2\u20ac\u2122t finish<\/strong>. He elaborates below (paraphrased):<\/p>\n

\u00e2\u20ac\u0153Photographers tend not to finish. They get started, but don\u00e2\u20ac\u2122t end it. Relationships with projects are like relationships with somebody. It is easy to get romantically involved in the beginning, with nice wine and candlelit dinners. The same is with a photography project. In the beginning, you are interested\u00e2\u20ac\u201c then most people quit. Personally I only finish 1\/10 of the things I start, which is pretty good. However most people don\u00e2\u20ac\u2122t even do any of the ten. Finish!\u00e2\u20ac\u009d<\/p><\/blockquote>\n

David elaborates on the long process it takes to work on a project or book (paraphrased):<\/p>\n

\u00e2\u20ac\u0153The first photography project you work on is like a flutter of love\u00e2\u20ac\u201c it is easy. But going all the way to a book or all the way to 60 years of marriage is the same thing. Finish the whole long process to make a book. You need fortitude.\u00e2\u20ac\u009d<\/p><\/blockquote>\n

He also uses the analogy of the left brain (which is generally associated with the analytical and rational side of the brain) and the right brain (the more artistic side):<\/p>\n

\u00e2\u20ac\u0153You need to shoot with the right side of the brain (passion). To finish, you need to use the left side of the brain to get it done. If you can\u00e2\u20ac\u2122t, you need help. Everyone has both sides. Figure out what is your weakest point, and have someone else help you with that side.\u00e2\u20ac\u009d<\/p><\/blockquote>\n

Harvey brings up the importance of having a partner help you (paraphrased):<\/p>\n

\u00e2\u20ac\u0153With Sebastian Salgado, his wife ties his shoes, and is his business manager. So if you don\u00e2\u20ac\u2122t have any business sense, get a wife or a husband to do the business side of things. Having a real partner is the way to go. It is very hard to have someone else dedicated to you for so many years. Think carefully who you choose.\u00e2\u20ac\u009d<\/p><\/blockquote>\n

11. On editing<\/h2>\n

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Some advice David Alan Harvey gave on editing (choosing your best images):<\/p>\n