Edinburgh, May 1, 2015
” What we see is not independent of our beliefs. Photographs provide evidence but no shortcut to reality. It is often said that seeing is believing. But we do not form our beliefs on the basis of what we see; rather, what we see is often determined by our beliefs. Believing is seeing, not the other way around.”
-Errol Morris, Believing is Seeing: On the Mysteries of Photography
A couple of years ago my wife and I found ourselves in Edinburgh for a day, traveling between some place or other. For those of you who’ve never been, it’s a really nice town to spend a few days – lot’s of history, good free museums, active and interesting culinary scene, great street life. We were also lucky enough to be there on May Day when Edinburgh celebrates Beltain, the Celtic neo-pagan holiday commemorating the beginning of Summer, the celebration consisting of naked people dancing around fires on Calton Hill overlooking downtown Edinburgh.
Edinburgh is also a great place for “street photography.” Given its latitude and the oblique angle of the sun, you get nice bright light contrasted with deep black lengthened shadows, which makes for the types of visual contrasts good street photographers exploit. And it’s a town of shoppers, for me at least, the perfect setting for interesting and thought-provoking visuals. Princes Street – a half-mile of upscale retail shops running east/west – being as target-rich an environment as I’ve ever experienced. So, of course, the day I was there I walked around snapping photos while the wife shopped for a kilt for her son (yup). The photos I’ve used to illustrate this post were all taken during an afternoon walking Prince Street.
Above is a “street photo.” I took it that day in Edinburgh. It’s an uninteresting photo. It says nothing, connotes nothing, implies nothing. It’s just a guy on a street, a throw away shot that doesn’t work on any level. But, hey, it’s properly exposed, it’s in focus, the tonality is nice, it’s framed competently (but what’s up with the big black empty space on the left?) and it’s a guy on a street. Bingo, I’m a “street photographer.” Too many “street photographers” seem to think that’s enough to qualify. If you have any questions, go here and look at what people post on public forums dedicated to showcasing “street photography.” 90% of the photos posted are no better than what I’ve posted above, many even worse. Why? They say nothing. They’re just people walking down the street. Ask the photographer ‘what’s the point’ and in all likelihood, he’ll reply with a blank stare – ‘what do you mean, what’s the point?’
Which gets me to my point. Street photos – any photo for that matter – need to say something. How do you do that? You have something to say. You must have a belief – an idea wishing to be made manifest – before you photograph, and the resulting photos should convey that idea, both individually and as a collective. Garry Winogrand’s 1960’s work, wonky and off-kilter though it was, was the result of a unified vision that worked both individually and collectively, the collective giving context to the individual, the individual stating its own visual truth.
Good “street photography” captures a fleeting moment that stands for something larger. The people and things pictured aren’t just people and things; rather, they suggest something more, some question to be answered or puzzle to solve. What is shown suggests something not shown, hints at it, implies it. It aspires to a reality truer and deeper than anything immediately at hand, something more intense and deeper than the ordinariness of the routine life pictured – what the Greeks called anagnorisis – when the mundane surface is stripped away and the essence is revealed.
Below are a number of photos I took that day in Edinburgh. I think they’re all good examples of street photography that works. They have a theme that runs through them, something I’m suggesting to you. They’re interesting visually and, and, if you’re paying close attention, intellectually. They work both individually and collectively as a series. They have a point of view, something that I’m attempting to communicate to you the viewer. We may differ on what that point is, but the photos themselves admit of something more than their topical subjects, and they add something to each other when they’re viewed as a group. Really, that’s all you need to produce decent work. Just have something to say.