blog posts

Elements of creativity: Our internal experience (2)

This blog post is the second of a series on creativity in street photography, which will later become my next ebook! Through the lens of 8 contemporary street photographers, we will explore in this article the workings of our creativity –  decoding a mysterious process as unique as the artists interviewed here. David Carol, Rammy Narula, Rohit Vohra, Mike Lee, Melissa Breyer, Martin Waltz, Nima Taradji and Arek Rataj – You’ve inspired me. Thank you!

 

Based on these interviews, I have identified 4 fundamental elements to creativity:

1/ The external world: The people, places and situations that we come across on the streets

2/ Internal experience: Our thoughts, feelings and unique ways of relating to the world

3/ Artistic influences: Artistic influences and encounters that are shaping how we see

4/ Personal vision: A deliberate attempt to articulate a purpose or narrative

Each of these elements influences image-making and creativity for street photographers. This second post is about our internal experience, that I define as: our inner thoughts, feelings, and unique ways of relating to the world – how we feel internally.

 

introduction

Being a photographer means learning how to see – but the way we see is heavily tinted by our own experiences: how we relate to the world, and to ourselves.

In this second section, we will explore the role that inner experiences – our thoughts, feelings, moods and desires – plays in the making of an image.  As Arek Rataj remarked: “Street photographers are not interested with the facts, they end up telling their own inner stories instead”. Given such a high level of subjectivity, it’s even more important to understand the power of emotions and moods on what we create, and further on, developing greater awareness of ourselves. Understanding who we are, what attracts us, and what makes our work unique in a way, is a critical step in finding one’s own voice in street photography. The more we know about ourselves and our art, the more we can become whom we are meant to be.

key insights

1. Seeing beauty in the world. In essence, street photographers are not interested in showing the real world around them, but in the possibility of turning the mundane into the extraordinary. While being keen observers of the world, it is not the world itself that makes street photographers see what they see, but the specific way they relate to the world. And it is as much a thought as it is a feeling that bring them to specific scenes and subjects. As Melissa Breyer beautifully explained: “I feel something from what I am seeing – and my hands make the camera follow suit”.

Yet recognizing such beauty requires a very personal, intimate relationship with the world, and oftentimes results in stories that tell more about ourselves than the world around us. When describing her Waitresses series, Melissa Breyer said that her work was closer to a self-portrait than a documentary. She recognized herself in these women, and was more interested in capturing moods and subtle hints of their lives than exposing their real story to the world.

2. The depth of the mind. Many street photographers have sooner or later realized that recurring patterns and themes have been emerging across their work. Arek Rataj never consciously realized his obsession for micro-expressions until it was pointed out to him. Similarly, Nima Taradji discovered that hands played an important role in many of his images when David Carol mentioned it to him. It appears that our work is filled with inner symbols and themes that are very unique to us – in other words, a representation of our feelings and desires, whether we are conscious of them or not.

The importance of our personal experience is even clearer when we look at the output that we’ve produced. “All my pictures look the same” says David Carol. While he tried to produce something new, more edgy, more serious when he was younger, notably using many different formats of lenses and cameras, he realized that he was still producing images that “looked like him”. This unconscious part of us appears to have a strong influence on our personal vision in street photography.

3. Emotional attachment. Many street photographers have experienced an emotional attachment to certain pictures displaying objective shortcomings.  It is as if the experience of shooting this image was enough to make them fall in love with it, after the fact. Our internal experiences as such strongly influence what we shoot, but also how we appreciate and edit our work.  Winogrand was quite aware of this fact, and always recommended to wait “at least 6 months” before looking at your pictures. “Photographers mistake the emotion they feel while taking the picture as judgment that the photograph is good.” While this length of time will rarely apply to the digital photography world, it’s important to realize the power of emotions when it comes to assess the value of our work.

4. Mood and creativity. For many street photographers, “seeing the world differently” requires to be in a specific mood, in a certain state internally. It requires Mike Lee to “get into the right internal rhythm”, while Melissa Breyer confesses following her moods when it comes to choosing her subjects.  Our internal moods are therefore intrinsically linked to creativity. Moreover, it seems that moods can also influence directly the type of images that we make. Martin U. Waltz explains that he alternates between two different mood states: Introverted vs. extroverted. While his default state is introverted, resulting in precise and sophisticated compositions, he’s started to enjoy acting as an extroverted. In this latter mode, Martin gets very close to his subjects, entering their private space to take raw moments of life.  Mood shifts therefore result in vastly different sets of images for Martin.

5. Blurring the boundaries. Street photography is art, and for this reason, street photography is life as well. Our personal experiences can have a huge impact on our art. Rohit Vohra, for example, keeps a diary with text and drawings, and messages addressed to his late wife. It has become a log of his life, a trace of time passing, and a critical source of creativity for his photography.  He notes down questions and thoughts that stick in the corner of his mind and change the way he sees.

 

Case study: Martin U. Waltz

Martin U. Waltz is a gatherer of raw material – his work is authentic, raw, and inspired by the flow. From this raw material, Martin aims to see and reveal the beauty in the mundane. But as Martin says “it’s a learning process, and it never stops”. To refine his personal vision, Martin pays attention to patterns and themes emerging across his images, eventually aiming to create a “unique narrative between himself and his work”.

As a street photographer, Martin U. Waltz alternates between two modes: introverted vs. extraverted. The mood states have a strong influence on the images he will be making: introverted will lead to sophisticated compositions where Martin observes the world but doesn’t engage in it. Extraverted will lead on the contrary to positioning himself at the heart of the action, in the middle of the flow – with personal, subjective close-ups taken at short distance from the subjects.

 
 
 
 

Case study: Melissa Breyer

Melissa Breyer creates moody, dreamy pictures of New York, a stage that she never tires to explore. She shoots very shallow to isolate and abstract, emphasizing impressions and visual cues rather than revealing the detailed facts. Her motivations are simple: she’s interested in capturing how it feels to be in the city.

Melissa’s work is intensely personal and intimate – a reflection of her own stories and moods that she projects on the world around her. She describes her recently published Waitresses series as “much more of a self-portrait than a documentary”. For Melissa, a day’s shooting is primarily define by her mood, which sets the stage right out of the door. Weather and light go hand in hand with mood for her, further defining her subjects and scenes. As Melissa describes herself: “Everything is determined by an inner pull. It’s like a magnet; I feel something from what I’m seeing and my hands make the camera follow suit.”

 
 
 

Summary

  • Street photographers are not interested by the facts, they often tend to tell their own inner stories.
  • Seeing the beauty in the mundane requires to experience the world differently, trusting our instincts and feelings.
  • What we see and how we see is determined by both conscious and unconscious factors that are unique to us.
  • Recognizing patterns and themes emerging from our work is critical to develop a unique voice and vision.
  • Street photographers tend to become emotionally attached to their images, making it hard to self-edit their work.
  • Mood influences our images and sets the stage for a day’s shooting – it is a key driver of creativity.
  • The boundaries between photography and life are often blurred, and our personal history changes what we see.

Be ready for the next article, which will cover artistic influences - from art but also from our mentors.

Have a lovely day, and thank you for reading!

Marie Laigneau

Elements of creativity: The external world (1)

This blog post is the second of a series on creativity in street photography, which will later become my next ebook! Through the lens of 8 contemporary street photographers, we will explore in this article the workings of our creativity –  decoding a mysterious process as unique as the artists interviewed here. David Carol, Rammy Narula, Rohit Vohra, Mike Lee, Melissa Breyer, Martin Waltz, Nima Taradji and Arek Rataj – You’ve inspired me. Thank you!

 

Based on these interviews, I have identified 4 fundamental elements to creativity:

1/ The external world: The people, places and situations that we come across on the streets

2/ Internal experience: Our thoughts, feelings and unique ways of relating to the world

3/ Artistic influences: Artistic influences and encounters that are shaping how we see

4/ Personal vision: A deliberate attempt to articulate a purpose or narrative

Each of these elements influences image-making and creativity for street photographers. This first post is about the external world that I define as: The people, places and situations that we come across on the streets – the external stage, as it appears to us.

 
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Introduction

Street photographers have a fascination for the outside world which they perceive intuitively. Many have a strong attachment to places, associated with different approaches. In this first section, we will explore the role of the external environment in the image-making process, notably understanding the importance of places and locations in defining the set of opportunities.  For street photographers, the outside world is ultimately their stage: this is the place where images come to being, and realize themselves in front of our eyes.  In this sense, images would never exist without a world outside of ourselves, a world filled with people and cities that tell interconnected stories. The world, in essence, is our greatest source of inspiration – life is the raw material, as Martin U. Waltz beautifully explained, and we are the gatherer of this raw material. Without it, our art wouldn’t exist.

Key insights

1. The importance of cities. For street photographers, cities oftentimes are as important as the people inhabiting them. Cities have a soul of their own, that many photographers will aim to capture. In fact, the individual stories of people that we shoot doesn’t interest us as much – they will remain strangers whom we will never see again, and probably never speak to.  Cities are perceived as a limitless source of inspiration for street photographers, never fully knowable, always changing, a stage where stories happen magically – right in front of us, in the most unexpected settings.

2. Intimate relationship to places.  Many street photographers have an intimate understanding of their cities and neighborhoods. They repeatedly come back over and over again to the same places, the same streets, neighborhoods, to whom they attach particular feelings and expectations. For example, crowded places will lend themselves to much closer and personal images, whereas architectural areas will spark ideas for minimalist photography.

But it’s also the belief that through developing a unique relationship with places, we can start to see differently – beyond the common and the obvious. To tell certain stories, it’s easier to come back over and over again to the same places that we have grown to know intimately.

3. An intuitive understanding. Street photographers display an instinctive and intuitive understanding of their surroundings – whether familiar or unfamiliar to them. In fact, many of them can’t say for sure why they took a specific shot, and how they’ve come to take this shot, as so much of this process comes naturally to them.  Yet intuition as magical as it seems, can be nurtured through continuous analysis and exploration of one’s and other’s work.  This intuitive understanding of their surroundings allow them to see stories beyond the reality of a single subject. As HCB explained in The Decisive Moment, this intuitive quality is fundamental in perceiving the realization of an event happening in the external world, and the simultaneous orchestration of forms able to tell this event. Yet oftentimes, this event finds itself at the intersection of people and the city.

4. Of coincidences and serendipity. As importantly perhaps, street photographers believe in the power of coincidences, and in the principle of serendipity - being there at the right time, at the right place to capture a unique moment.  Their approach to capturing the external world is in essence filled with mindfulness.  Like Rammy Narula said, being a street photographer is belonging to the moment. This is why street photographers never plan – not planning and letting themselves be surprised is a huge part of the joy they take from the experience. If they were to plan or stick to an idea, they would miss great opportunities happening around them.  Of course, a certain level of pre-determination is somewhat inevitable. While we don’t plan, the weather, moods and light will all influence what we shoot. After years and years of practice, we know how to maximise the opportunity during grey days for example. This doesn’t mean that we have anticipated everything, but our mind and eyes might be searching for subtle hues and layers that sunny days will not provide.

5. Candid images, subjective POV. When it comes to shooting and framing, street photographers are extremely attached to the idea that they are shooting candid, non-staged captures of people in the street. They have a desire to remain true to the scene they are seeing, with its imperfections and chaotic elements. In this sense, they consider their images to be documentary in nature (i.e. not manipulating what the photographer sees at any moment in time). In reality however, street photographers are not bound by telling the truth with an objective point of view. Their choices of composition, angles, distance and focus will all ultimately create the story, much more so than the subject alone. We could also argue that certain types of shots, such as humans in architectural settings, illustrate a form of “calculated candidness” where composition is more deliberate and precise, and the “moment” is in fact a succession of possible moments.

Case study: Mike Lee

Mike Lee doesn’t reflect on what he does: his mind is always searching for the next shot. He trusts his instincts to lead him the way.  Mike shoots from 8 to 10am every day, on his way to work, capturing the lively and rushing morning life of NYC. His work is at times blurred and angled, and reflects his obsession of capturing the story in front of him– much more so than capturing it technically, which is only his second priority. Mike Lee never plans, it’s part of the joy he takes from the experience. He remains conscious of his surroundings and is a keen observer of the world around him. In fact, he started street photography to become more aware of the city and the people, outside of his world centered on his child. His images reflect an intuitive understanding of his surroundings, but equally a desire to seize and embrace this world through photography: “You run to and embrace the world – it doesn’t come to you”.

 
 
 
 

 

Case study: Arek Rataj

Arek Rataj has a special interest in what he calls “situational photography”, a larger umbrella of terms inclusive of candid, unplanned, un-staged photography – whether on the street or not. Immensely obsessed with faces and micro-expressions, Arek fully believes in the principle of serendipity.  His quest so far has been to reveal to the outside world these truthful expressions that come to being in front of his eyes. While his photography is inherently more about subjects and faces than the city itself, all elements within the image corroborate to create strange, intimate portraits of strangers with a darker, sometimes sinister mood. Once he has identified an interesting subject, his focus turns to understanding how to approach the subject, how to frame technically, and how to remain invisible all the while to capture a unique moment.

 
 
 
 
 

Summary

  • The city is the street photographer’s real stage – images happen in front of them, not when they try to control them.
  • The city is nearly as important as the people themselves. Combining elements together allow stories to be created.
  • Street photographers believe in the concept of serendipity and coincidence, taking a mindful approach on the street.
  • They have a particular attachment to places that they know very well, having formed an intimate relationships with them.
  • Their style and comprehension of their surroundings is highly instinctive and intuitive at all time.
  • They nearly never plan their shots in advance, yet are influenced by factors like weather and light.
  • They thrive to take candid photographs, but not to emulate the truth – their POV is subjective.

 

Stay tuned for the next chapter in this series!

Have a lovely day,

Marie Laigneau

Cool lists of women street photographers to follow

To my happiness, there's been a regain in interest for female street photographers - who, as we know, are somewhat of a minority. Of course, being a women doesn't make you a better street photographer, far from that. But interestingly, I find female street photography to be often different than that of the mainstream communities led by men. It's oftentimes more subtle, emotional, timeless. It portrays the mundane not in sophisticated compositions, but rather as a flow of feelings, sounds, and smells. It's all that subtlety that I am pleased to find in those lists. And I thank the curators very much for the effort of putting them together!

First article: Top 20 Female street photographers to follow on Instagram, by Shooter Files.

Second article: Woman street photographers you should follow on the web, by Street Hunters

And finally, I would like to thank the readers of Street Hunters for including me in their 20 most influential street photographers list in 2017. This gives me wings to give more and more to you, my dear readers! Hopefully my next ebook will be a give back, if it turns out any good :)

Have a lovely day!

Marie

Podcasts with Valerie Jardin on Hits the Streets

It's been quite a long time that I have not been able to post on my blog - but since then, a lot has been going on on my side. For instance, I wanted to point you out to two fun podcasts that we did recently with Valerie Jardin, on her new Hits the Streets channel.

The first one is a Q&A session where Valerie and I answered some of your witty questions :) You can find this episode here.

The second one was a street photography panel organised by the Out of Chicago Conference, with Valerie, James Maher, Steve Simon and I. Be ready to listen for one hour and a half of debates over what matters most in street photography! You can find the episode here.

Hope you'll enjoy!

Marie

Streets Sans Frontieres, May 12-14 in Paris

My photographs are travelling to Paris, my friends! I was approached a few weeks ago by a cool collective of street photographers who've been organising group photography exhibitions in  Paris during Photo Days and Photo Expo. In particular, their upcoming exhibition, Streets Sans Frontieres, is all about Street Photography:

" Street Sans Frontières, an exhibition curated by Martin Vegas, will be attended by authors from 5 continents who showcase what happens in the streets of the world. From amateurs to established artists, these photographers are able to capture stories in different forms and deliver them to us, through the outstanding and inspiring images we are proud to share. With the participation of the Paris-based collective Fragment."

I am very happy to announce that I will be showcasing 4 photographs from my London series as part of Street Sans Frontieres exhbition in Paris. Please come and meet us if you live around!

We will have an opening party starting at 6pm, Friday 12th May 2017, at Espace des Arts Sans Frontieres, 44 rue Bouret, Paris - Metro: Jaures.

Hope to see you there!

Street sans frontieres

Here are some excerpts from the collective's website regarding the upcoming exhibition.

The Decisive Moment

In 1952, Henri Cartier-Bresson (1908-2004), commonly considered as the pioneer of street photography, published his book Images à la sauvette, whose English-language edition was titled The Decisive Moment. It included a portfolio of 126 of his photos and for his philosophical preface, Cartier-Bresson took his keynote text from the 17th century Cardinal de Retz, "Il n'y a rien dans ce monde qui n'ait un moment decisif" ("There is nothing in this world that does not have a decisive moment"). Cartier-Bresson applied this to his photographic style. He said: "Photographier: c'est dans un même instant et en une fraction de seconde reconnaître un fait et l'organisation rigoureuse de formes perçues visuellement qui expriment et signifient ce fait" ("To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression").

Sans Frontieres

Sans frontières is the French equivalent for 'without borders'. New borders are increasingly being constructed in the world, be they physical or social, or simply ones in our heads. Better than any other art form or language, photography can document the world around us, crossing the borders and seeking the beauty overlooked by other people. In every corner of the world, street photography captures the essence of diverse people, cultures and traditions. Beyond an interest in photography and love for travelling, some authors are inspired to find space for new narratives that may not have been previously considered. Thinking about images via juxtapositions and visual arguments, the exhibition will show the instant pulse of urban places and the scenes of everyday life blended with the photographer's attitude in exploring new territories and cultures.

The concept of "no borders" also relates to technical aspects of photography. Street photographers are not limited to using film or digital, shooting in black and white or color, utilizing a real camera or a modern smartphone.

Paris

With its rich heritage, Paris is a hugely popular destination where the passion for photography can be satisfied, either as a photographer or collector. As everybody knows, photography was born in Paris. It seems reasonable to assume that also Street Photography also finds its roots in Paris. The buzzling and cosmopolitan French capital and its people attracted early photographers like Eugene Atget who took his camera from the studio out into the streets. Few years later it was Henri Cartier-Bresson who made an art out of taking candid images of human activity in urban environments. But the very first Street Photo was this one, taken by Louis Daguerre, who was trying to capture Boulevard du Temple, a busy Parisian street. Taken in 1838, or in 1839, according to different sources, this is believed to be the earliest photograph showing a living person. The street was busy, but since the exposure lasted for ten minutes the moving traffic left no trace. Only the two men near the bottom left corner, one apparently having his boots polished by the other, stayed in one place long enough to be visible. As with most daguerreotypes, the image is a mirrored negative that appears as positive when no reflections of bright light disturb the view on it.