Street Photography London
I like Joel Meyerowitz, he seems to love life. His philosophy always makes me happy because of it’s simplicity – ‘what you put in the frame, determines the photograph’. He seems to approach his work from a philosophical point of view as much as a literal, image based one. The real world continues outside of the frame, whatever you choose to put in it, immediately become relevant. Joel shoots on a Leica, which he says is the finer instrument out of that and an SLR. This is due to the fact that an SLR blocks your second eye, whereas with a Leica your other eye is able to see whats coming. I’d never considered it before, but this must be a huge advantage in terms of timing.
I’d like to attempt street photography with a waist level viewfinder and compare the outcomes. I wonder if the physical process of looking at the world through a lower prism would help remove the fear factor associated with looking at strangers. I have grown to love the street photography genre as it has shown me a new type of present that exists only in the photograph. In the photograph it is always the present. I have always been drawn to the notion that life continued after these moments, without the camera, there is no picture.
Shooting at a lower angle with a longer lens helped isolate strangers walking by. The two Cindy Sherman style images were shot at 300mm, exaggerating depth of field. The panoramic crop was inspired by Tarantino’s recent film the hateful 8. The essence of the crop brings about a dramatic, filmic quality. It also draws the viewer into the face. It pulls the elements of the frame together and forces a relationship that isn’t really there. This is perfectly demonstrated in the image at the bottom. Two women of different ages, crossing paths in the street. No relationship, no knowledge of each other. Bring them together in the frame, they almost look Photoshopped. The frame however forces the viewer to consider the relationship, developing a narrative that doesn’t exist.