Continuing my month of street photog inspiration, I’ve become a little obsessed with Daido Moriyama and his utterly compelling body of work, with its very consistent low fidelity aesthetic and dynamic composition.
The following are a selection of photos from recent travels to Greece, specifically Athens, inspired by Moriyama’s work.
I’ve been inspired to begin sharing my street photography again this month, in particular due to two “walkie talkie” videos produced and hosted by Paulie B, a New York based street photographer.
The first, and perhaps more conventional “street photographer” is Matt Weber, whose work I was previously aware of but hadn’t really explored. What inspired me about Matt, beyond the quality of his body of work, was the consistency he has demonstrated over such a long period of time. He has played the long game, adopting a stoic attitude to the probability of success on any given day, and this has yielded some phenomenal results.
The second, and most inspiring (for me), of the photographers recently profiled by Paulie B is Daniel Emuna. The quality of his given name aside, Daniel’s work speaks for itself. He’s heavily focused on portraits, often of a group, and his body of work tells you almost eveything you need to know about his approach to photography.
Daniel comes across as deeply humanistic and community oriented. His “walkie talkie” episode reveals a confident, social approach to compassionate documentary photography, with a focus on consent and interaction – a stark contrast to the more candid approach adopted by many street photographers.
Whilst I do love this approach, the video and a review of some of Daniel’s work did get me reflecting on what is lost in the interaction with one’s subjects. Daniel’s work is authentic and his photography conveys a very strong sense of the characters and relationships at play between his subjects, but there is a tendency towards posed street portraiture which lacks the spontaneity and range of interactions which are often the most compelling aspect of street photography for me. The compositions are also very consistent, which is no bad thing, but I miss the happy accidents of composition which can come from rushing to capture the frame in an instant.
Reflections on subject interaction aside, Daniel’s sincerity and awareness were utterly inspiring. In one segment of the video, he talked to the challenge of walking the fine line between documenting and appropriating. His perspective on this was so on point that it ended up feeling obvious – perhaps we simply share similar views on this as well as a first name.
A final point is how niether photographer were talking about kit. Nor were they shooting with an Leica… Most of my street photography is done with an Olympus, and so I was pleased to see Matt with something very similar around his neck. I’ve wondered for years why micro four-thirds cameras are not more popular with street photographers. They are compact, light and generally very ergonomic. They are discreet. They focus quickly and accurately. The small sensor means greater depth of field at larger apertures – great for increasing hit rate with zone focusing. And on the subject of zone focusing, Olympus lenses like the 17mm f1.8 have a clutch mechanism which make it so easy to set and maintain a focus distance at a glance. Matt Weber knows…
I was inspired to get out and take some photos in the crisp evening air of Copenhagen in December. Just days away from the winter solstice, it is dark by 3.30pm, and by 10pm when I took to the streets, it is pitch black. Small groups of locals gathered on benches and corners holding tins of beer, the bars closed as COVID cases shoot up across Denmark. The blanket of grey cloud which has covered the city for the past week reflected the lights of the city creating a ghostly halo across the sky, and Christmas lights sparkled from balconies and windows.
A short series of snapshots from Spring 2020.
When walking around with my camera I’m often drawn to people. Particularly on bright winter days, documenting the day to day errands of city folk – the clothing they choose to keep themselves warm, the bags and trolleys they carry, their facial expressions – are all fascinating subjects.
Most of these taken with my Olympus OMD EM5 mkII and the 17mm f1.8 prime. This set up is super compact and discreet – perfect for this sort of daytime street work. More of my thoughts on the camera in an upcoming post.
Armed with tripod and trusty old OM10 I spent a cold evening in the streets around my home shooting long exposures. Portra 400 did well, yielding some nice colours and exposing consistently whether under- or over-exposed. I was impressed with the accuracy of the Lux light meter app on my iPhone – on all but a few exposures the metering was pretty spot on.
One reason I love the Olympus m43 cameras, specifically the EM5, is the size. I can carry this camera in my bag every day, and should I feel inspired by the light, my surroundings, or simply have some excess creative energy, I can pour that energy into photography without the pressure one feels when specifically dedicating time to the pursuit.
These photographs were made on a 20 minute commute on Copenhagen’s new M3 metro line on a recent rainy November evening. The colour grading is my own Lightroom CC preset, available soon in the store.
The skate park at Bexhill leisure centre, now earmarked for demolition, has an incredibly passionate and vibrant community of riders and skaters.
The skate park is in desperate need of renovation – several accidents and near misses due to the state of the ramps and concrete occurred during the shooting of these photos. And with demolition on the horizon, the community here deserve a firm commitment from local government to the development of a new location.
Skate parks are positive and sociable community hubs which deserve serious investment to ensure they are safe spaces for up and coming athletes to practice and share their passion with others.
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The satellite dish. That reliable, omnipresent parabolic residential appendage, facilitating technology for the rise of satellite television in the late 70s, and modern day delivery medium for Murdoch’s media empire. On a short impromptu photowalk in somewhat economically deprived Bexhill-on-Sea my lens inadvertently captured a huge range of the rusted concave devices, their cables trailing across rooftops like determined vines clamouring for vertical dominance, terminating at this strange metal plate seeking a favourable situation on a pebbledash plain. I wondered: to what extent could the “dish density” of an area be a socioeconomic indicator?
They will sell you a dish outside Asda. Aspiring salesmen, fleece top proudly embroidered with the Sky logo, enthusiastically propping up a portable sales stand, together representing an unavoidable gauntlet between shopper and shop. The determined survive but the weakest are cornered and eventually convinced they sign, committing to 24 months of box sets, premier league and propaganda. A typical contract could cost a day’s pay packet on the minimum wage, but out there in the cold the numbers might just start to make sense.
My last trip to New York was an analogue affair. I set out each day with my old OM10 slung over my shoulder loaded with HP5. Not for a long time had I carried a film camera with no digital counterpart tucked away in my bag (where it couldn’t damage that oh-so-fashionable retro camera look). And the anxiety I felt! It took some time to identify the cause of the deep unease I felt as I explored the island of Manhattan.
With less than 50 frames to shoot and a whole city to explore my early captures took far too long as I fussed over composition, exposure, focus. I soon got into the swing of things however, and this shot somewhat makes up for the fact that I was wandering lost, unable to decide whether to commit to the trip over Brooklyn bridge as the biting wind tested my inadequate clothing.
