{"id":58163,"date":"2015-08-15T09:57:31","date_gmt":"2015-08-15T08:57:31","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=58163"},"modified":"2015-08-15T10:00:33","modified_gmt":"2015-08-15T09:00:33","slug":"challenging-the-rules-of-street-photography","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/interviews\/challenging-the-rules-of-street-photography\/","title":{"rendered":"Challenging the rules of street photography"},"content":{"rendered":"\t\t
\n\t\t\t\"barcelona\"<\/a>\t\t\t

\u2018Public Lavatories\u2019, Barcelona Beach, Spain. All images by Heather Buckley<\/p>\n\t\t<\/div>\n\t\t\n

If you\u2019re a street photographer, or simply interested in the genre, think about how you define it. This may be a question you\u2019ve often asked yourself already. While street photography isn\u2019t necessarily a young genre (although its increasing popularity over the past five years would suggest that it is), it appears to have only recently found itself subject to a variety of camps expounding how it should be defined.<\/p>\n

In an issue of the magazine last year we spoke to Jerry Webb<\/a>, who pointed out that while he had often enjoyed calling himself a street photographer, he had received messages from photographers saying that his work, due to its post-processing, didn\u2019t qualify as true street photography.<\/p>\n

Just a few weeks later we spoke to Nick Turpin<\/a>, a member of iN-PUBLiC, which is a group of street photographers who operate as a collective. He defined the term as \u2018candid photography in a public place\u2019. It\u2019s for this reason that Turpin rejects \u2018interventions\u2019, like the use of flash or interacting with the subject.<\/p>\n

Keeping those parameters, and also \u2018interventions\u2019, in mind, how does Brighton-based Heather Buckley feel about the label of street photographer?<\/p>\n

\u2018I\u2019m more than comfortable with the label,\u2019 says Heather, who is more than happy to defend herself against anyone who denies her the title. \u2018It\u2019s what I do. I go out into the street and I grab images. Sometimes with those opportunities I\u2019ll need some involvement. So, for example, if I see a perfect foreground and background and I want to see them together, I\u2019ll ask someone to move. In terms of the strict street photography code, that\u2019s not street photography. Maybe you could call it street portraiture.\u2019<\/p>\n\t\t

\n\t\t\t\"arles-david-baily-exhibition\"<\/a>\t\t\t

\u2018Outside Bailey\u2019s Stardust exhibition\u2019 at the \u00c9glise Sainte-Anne, Arles, France<\/p>\n\t\t<\/div>\n\t\t\n

Heather believes you can still call yourself a street photographer even if you edit your images, such as by cropping \u2013 an editing choice she sometimes uses on her own shots.<\/p>\n

\u2018Sometimes, if I have the vision for an image in my head, I\u2019ll take it with my wideangle lens but it will be too far away,\u2019 says Heather. \u2018But I know that with a 50% crop I can get exactly the image I want. So then I\u2019ll take the image and crop it. Also, I\u2019m a stickler for verticals and horizons being straight where they need to be. Obviously, with a wideangle I\u2019ll get those dramatic angles at the corners, which I\u2019ll use for the composition in order to make it dynamic. I don\u2019t like things that are nearly straight, like windows and walls. In post-production, I\u2019ll tilt it very slightly. I see nothing wrong with that.\u2019<\/p>\n

Heather makes a fair point when she says that the rules of street photography are very new. It used to be that a street photographer was anyone who went out on the street with a camera.<\/p>\n

\u2018Bruce Gilden has fantastic photographs of people he has stopped in the street and asked to photograph,\u2019 says Heather. \u2018That\u2019s in addition to the guerrilla flash-in-your-face style he employs today. Some of his images are posed. That doesn\u2019t make him any less of a street photographer.\u2019<\/p>\n\n

Playing the game<\/h2>\n

Perhaps the biggest compliment that can be paid to Heather\u2019s vibrant and dynamic images is that they are clearly constructed with love and passion. This is a passion not just for the medium of photography, but also for the characters she encounters during her jaunts on the streets of Brighton in East Sussex, either alone or with one of her many carefully tailored and intensive workshops.<\/p>\n

\u2018Street photography is like a game,\u2019 says Heather, whose enthusiasm for the genre is evident in just about everything she says. \u2018What I like to do is match a background with a subject.<\/p>\n

There\u2019s a relationship between the elements and it\u2019s your job to make that obvious in your image. Things like that are everywhere; there\u2019s at least ten along every street, and that\u2019s what I find so exciting. There\u2019s a skill to finding these things and getting it right.\u2019<\/p>\n

\t\t

\n\t\t\t\"[MENTIONED-IN-COPY]-Ms-Samantha-Mann-at-Brighton-Fringe\"<\/a>\t\t\t

Ms Samantha Man\u2019 at the Brighton Fringe Festival<\/p>\n\t\t<\/div>\n\t\tA perfect example of what Heather is referring to can be seen in a shot she took at the 2015 Brighton Fringe Festival (above). It\u2019s a shot that Heather is particularly proud of \u2013 and for good reason.<\/p>\n

\u2018The guy in the shot is dressed as an elderly woman,\u2019 says Heather. \u2018Actually, to be specific, he\u2019s occupying the character of an agony aunt. The idea was that people would go up to him and tell him their problems. When I saw him I remembered a shot from Roger Clay that features a person walking along with an Afro and in the near distance we can see a tree. The Afro and foliage side by side look identical. The agony aunt in my image had curly wiry hair and I placed him in front of a tree.<\/p>\n

‘It\u2019s a perfect complement to the shape and adds around four inches to the wig. It\u2019s weird and hypnotic, because at first glance it appears to be an old woman with huge hair.\u00a0 The you look a little closer and see the reality of the scenario.\u2019<\/p>\n\t\t

\n\t\t\t\"brighton-pride-2012\"<\/a>\t\t\t

\u2018Policeman at Brighton Pride\u2019<\/p>\n\t\t<\/div>\n\t\t\n

Vibrant scenes and characters are a key element of Heather\u2019s work, but readers will also note one particularly striking trope of the images: the use of a wideangle lens.<\/p>\n

\u2018I love the instant drama you get with a wideangle lens,\u2019 says Heather. \u2018You get really strong diagonals with a touch of distortion that some people don\u2019t like, but I\u2019m a big fan.<\/p>\n

A wideangle will give you fantastic bold foregrounds with loads of texture and interest. You can also include a ridiculous amount of environment. The background and foreground together make up the total composition and you have to ensure every element is in exactly the right place.\u2019<\/p>\n

This belief represents something of a shift for Heather, who was taught back in the early days, as so many of us are, that it\u2019s better to crop in to get rid of the mess.<\/p>\n

But surely the secret of great photography is getting the mess in order? And, as Heather rightly points out, knowing exactly where to stand when taking the image.<\/p>\n

\u2018That\u2019s the thing I find on my workshops,\u2019 says Heather, who offers a variety of courses on her website. \u2018People take a while to figure out how to arrange their composition, but when they understand that all they have to do is move, the penny drops and their image is transformed. That\u2019s particularly true with longer lenses. It\u2019s all about the micro-movements. As Sergio Larra\u00edn said, \u201cOrganise the rectangle\u201d.\u2019<\/p>\n\n

Head first acrobats<\/h2>\n\"[BOX-OUT]-Head-First-Acrobats\"<\/a>\n

\u2018I get such a high when I nail a shot and everything comes together,\u2019 says Heather, on a particular shot that pleased her (above). \u2018I had one opportunity to take this shot. It\u2019s a usual angle for me \u2013 I\u2019m using my wideangle lens and I\u2019m on the ground shooting up. There\u2019s a guy moving through the frame with a huge loop and he\u2019s spinning inside. I was shooting blind as I often do with my wideangle.<\/p>\n

‘That takes a lot of practice to get your subject where you want in the frame while not looking through the viewfinder. You can also see that framed through the shape of his body are the other two acrobats, one upside down with his head on top of the other. It\u2019s a perfect shot and exactly sums up the thrill you get when you get a shot right.\u2019<\/p>\n\n

In\/visible<\/h2>\n\t\t
\n\t\t\t\"client-portrait-shoot_\"<\/a>\t\t\t

\u2018Client shoot for Kevin and Tracey\u2019, Brighton<\/p>\n\t\t<\/div>\n\t\t\n

We\u2019ve run several street photography workshops ourselves here at AP. As popular as they are, one of the key issues revolves around confidence. It isn\u2019t easy approaching people on the street. Oddly, it also takes a degree of confidence to remain invisible. Street photographers fall into two camps: the gregarious and the discreet. But talking to Heather, it becomes instantly clear that these are both necessary virtues of a street photographer.<\/p>\n

\u2018I like people, so I find it easy to approach them,\u2019 says Heather. \u2018If they ask why I want to photograph them, I\u2019ll tell them the truth: there\u2019s something about them I love. It could be their shoes, it could be their outfit, it could be that they either complement or contrast with the background.<\/p>\n

\u2018I\u2019ll tell them I\u2019m a street photographer and give them my card. Then, if they email me, I\u2019ll send them the image.\u2019<\/p>\n

That\u2019s not to say Heather is averse to shooting discreetly and capturing the kind of candid shots that more often than not form the backbone of street photography. Recently, Heather has been shooting with the Olympus OM-D range of cameras coupled with a 7-14mm lens (as opposed to her larger Canon models with a 16-35mm lens) and has been making use of the handy flip screen.<\/p>\n

\u2018The Olympus cameras are so discreet and the flip screen frees me from looking through the viewfinder all the time,\u2019 says Heather. \u2018I can look through the lens briefly, frame the shot, then straighten up keeping the camera in the same position away from my face. That works for candid shots and also keeps people feeling at ease while I\u2019m engaging with them.\u2019<\/p>\n\t\t

\n\t\t\t\"London-Poppies\"<\/a>\t\t\t

\u2018Poppies at the Tower of London\u2019<\/p>\n\t\t<\/div>\n\t\t\n

Perhaps another noticeable element of Heather\u2019s work is her use of flash (again, something some street photography purists would object to). It\u2019s another technique that adds a degree of dynamism to Heather\u2019s work, although she has strict rules about when and where she will use it.<\/p>\n

\u2018I use flash all the time outdoors,\u2019 says Heather. \u2018Usually it will be a Canon EOS 5D with a Speedlite flash on top. For every event I do, I\u2019ll use flash, but that excludes when I\u2019m working indoors where I\u2019ll only use available light. If I\u2019m shooting someone against a sky I\u2019ll use flash, and I\u2019ll always use it for portraiture and action. Often at events I\u2019ll have to move fast. One minute I\u2019m shooting into the sun and the next it\u2019s behind me.<\/p>\n

\u2018Flash helps me to work as fast as necessary, but I\u2019ll only use it in conjunction with the sun. At night, it\u2019s flash off, because of the fantastic low-light capabilities of the Canon EOS 5D and Olympus OM-D range.\u2019<\/p>\n\t\t

\n\t\t\t\"Man-in-the-lake-Verdon-France\"<\/a>\t\t\t

\u2018Man in lake\u2019, Verdon, France<\/p>\n\t\t<\/div>\n\t\t\n

It seems appropriate to end with a look at the work that goes into Heather\u2019s images during post-processing. While she does employ some degree of Photoshop, Heather has a clearly defined set of rules. \u2018If there are things such as people at the edge of my frame, I won\u2019t clone them out,\u2019 she says. \u2018If something is there, it\u2019s there. Rather than cloning things out I\u2019ve learned that just converting the image to black & white will cause the object to merge with the background. You can also change the tones in certain areas to match the background, but those things are still there and become less of a distraction.<\/p>\n

\u2018I\u2019ve actually gone back through a lot of my archive and re-edited them. I\u2019ve ensured all the elements are back where they were when I took the photograph.\u2019<\/p>\n\t\t

\n\t\t\t\"[MENTIONED-IN-COPY]-brighton-festival-childrens-parade\"<\/a>\t\t\t

\u2018Blue Boy\u2019 Brighton Children\u2019s Parade<\/p>\n\t\t<\/div>\n\t\t\n\n

Heather Buckley is based in Brighton, East Sussex. She takes on commissions, and writes articles online and in popular photography magazines. She also runs workshops, which can be booked through her website at www.heatherbuckley.co.uk<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

If you\u2019re a street photographer, or simply interested in the genre, think about how you define it. This may be a question you\u2019ve often asked yourself already. 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