In
May this year, I decided to enter some of my images to the Magnum Photography
Awards. It was a last minute decision, mainly based on the fact that entrants
would receive written feedback from experts in the field. I felt it important to
use images taken not for work or coursework, but ones that I had taken for
pleasure in order to gain feedback on my developing personal voice. With only a
day to choose my images, I simplified my search by using only images shot in summer
2015.
This
is the feedback I received:
Jayne Arksey,
Thank you for these photos of British Summer. Your
photos fit into a street photography or urban photography approach, a genre
which relies on a reactive method which seeks candid and unposed photographs.
Happy Campers (#1) is a successful example of this candid, unposed method. The
from below vantage point has a viewer looking at the image as if from a seated
position on the ground. The tight framing is claustrophobic and uncomfortable.
Given the grim face of the man on the left and the absence of interactions
among the campers, the whole photograph becomes a record of an unpleasant
moment. It's also a bit comical in the sense that the campers are already
unhappy and have yet to discover the dark clouds building behind them.
Interval
(#2) is similar subject matter but instead the vantage point is more direct.
The children seated on the ground on the left are the reason to take the photo.
The young girl's yellow shirt immediately draws my attention. Her left looking
head turn contrasts with her friend's right looking turn. I have suggested an
alternate framing which zooms in on the young girls. These two photos
documenting the efforts people exert in order to enjoy summer has the recurring
'are we having fun yet?' refrain. Both of these photos are an homage to Martin
Parr's series The Last Resort.
Your intent in Skatepark (#3) is clear. The older
boy skateboarding is being admired by the younger boy on a kick scooter. The
components of the image are there - one boy standing and watching the other
active skateboarder - but the components don’t cooperate. The composition fails
because of too many distractions: man in the red coat, red car, and gray pole.
Your focus is spot on for the active skateboarder and I begin to wonder if you
missed an opportunity in not zooming in and making the lone skater the subject.
It's worthwhile being open to other possibilities in a scene. Looking for the
photograph within the photograph is good practice when you review your images
later.
I totally agree with your instinct to photograph
the woman in The Hat (#4). The similarity between her hat and the dome is
wonderful. American street photographer Garry Winogrand had a keen eye for
visual humor, especially in his trip to the zoo which is included in The
Animals. There are a couple of problems with your photo. If you are comparing
the woman’s hat and the dome the connection would have been strengthened were
the depth-of-field deeper. The second problem is the white bar of the railing
which divides the photograph into two. It's possible that moving in closer and
altering the vantage point would have resulted in a successful image. It's also
possible that approaching the woman, chatting with her, she may have adjusted
her position during conversation enough for you to better photograph her hat
and the dome sharply and without the bar.
Tribal Dance (#5) is a wonderful composition. The
setting of the tree with Grandad’s ashes and the girl in the midst of a
spontaneous water winged dance is glorious. The only drawback is that given the
importance of the tree per the caption, it should be in focus too. Closing down
the aperture to create a deeper depth of field would have corrected this.
Street Photography requires honing technical skills
to be ready to react quickly to whatever catches your eye. The rapid response
necessary to frame, expose, and capture what attracted you is easier than ever
with digital cameras. The human reaction time is important and requires
training yourself. Responding to what your eye has noticed, figuring out what
is significant, and then making those decisions about framing, exposure, DOF,
that will record the essential elements - has to happen before the moment
passes. Happy Campers (#1) succeeds. The framing and the vantage point recorded
a claustrophobic and uncomfortable image which expressively conveyed this
discomfort to any viewers of this photo. The unhappiness of the campers is
palpable.
There are different philosophical viewpoints among
street photographers. Some will never interact with subjects while others
engage readily – perhaps a smile or a friendly chat. Regardless of these
differences most street photographers will agree on one thing, photograph
prolifically. Keep photographing. Good luck to you.
Additional Recommendations
Recommended Books & Photographers
Photo Competitions
Portfolio Reviews & Festivals
Recommendations for Gaining Exposure
Other Resources
Relevant Quotes from Past Jurors
"The difference
between a good photograph and a great photograph is that the great image is
unconditional. All the elements of the picture come together at the same time,
whereas in a good picture only most of the elements are in synchronicity. Only
when a photographer has patience and/or the dedication to wait and persevere will
he or she ever make great images." — Jeff Moorfoot, Festival Director,
Ballarat Photo Biennal, Australia
"Think when you
photograph and don't confuse speed with purpose. Finding and capturing these
moments means the photographer is always on a path to discovery and this
process forms an essential aesthetic and a unique voice. One picture is a piece
of a whole and I am forever curious about the many elements (photographs) that
create an entire story." — James Wellford, Photo Editor, Curator, and Educator,
New York City, USA
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