6 comments

    1. Sharp focus… for a CHANGE. LOL. Thank you, Eric. I love the color from my camera. I can dial it back to drug store film or up all the way to electric and almost fluorescent. Thank you again!

      1. Well it’s a tricky area in many ways and I remain conflicted myself. Or I’m becoming conflicted. It’s hard to say. From Paul Strand to Robert Frank and, to this day, Bruce Gilden, street photographers have taken pictures of people and published those images without permission of the people in those images or even without conveying to those subjects that they’ve had their picture taken at all. Henri Cartier-Bresson used to have an assistant to block subjects from even seeing him there with a camera and sometimes to get in between an angry subject who was coming after him after being photographed.

        And of course there have been many thousands of people who have proceeded accordingly. But I’m still conflicted and my photography has largely depended on using what is happening in the reality of life as my subject matter.

        On many levels I don’t think it’s fair to snatch pictures of people without their knowledge or permission and I don’t like being the person who is doing that. I’m conflicted however because I think it’s an immensely important thing to be doing. It’s essential to have ongoing visual records of all the moments of life around us as seen through the eyes and singular vision of individuals who are driven to bring what they are seeing at this time in this moment to state where it can be put into the database or record of humanity.

        I would love to take a few years and only shoot shadows and compositional scenes as I see them and I’m going to try to offset my normal subject matter with a lot more of other kinds of photography. But the whole purpose of my street photography has been been to explore people in the environment and circumstances of their lives, as the city and the rest of humanity has thrust itself upon them. I want to take pictures of faces and expressions and gestures and body language as people stand or sit or interact with each other under, in this case, the pressure and social structures of Los Angeles. Not the laid back image of LA that is stereotyped to the world but the real LA as I know it… which is a place that has reduced humans to being part of what was once thought of as the ‘Rat Race’ of the United States.

        Anyway, I think it’s important and if it has been done by everybody from Henri Cartier-Bresson to Garry Winnogrand, and they made their fame doing it and, in the process, made themselves immortal doing it. So I feel I should continue doing it even if I’m conflicted and would at times rather be doing something else. And I can’t do it without taking pictures of people surreptitiously and I certainly can’t then encounter all of the people I photograph and seek their acquiescence in what I’m doing.

        Thank you for visiting and for asking this question.

        db

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