I hope this isn’t going to be one of those blog posts where I waffle on, seemingly not making a point. I’ll try to make one here, which is unusual as often the Leica Biker Blog is more of a “What was I saying again?” kind of a blog…I’m certain you already know that. In this one we’re going from New York to the local park and on to Lacock Abbey. We might wander off to Covid briefly. I’m trying to avoid the U.S. Election. I’ve always thought of it like putting a Christmas tree up in August because they begin campaigning three years before the actual voting begins. After someone has been announced winner, they don’t take office for two months. They even have their own “Seal” and office, President Elect. Here we campaign six weeks before the election, the result is announced and instantly the old incumbent leaves Downing Street and the new Prime Minister moves in. Often on the same day. Why is there a need for a transition? Makes no sense at all.
The photo above was taken in New York, April 2016. Admittedly it isn’t the best shot I’ve ever taken, yet it opens up some thoughts and besides that I quite like it. I found it last week whilst looking through some old files. It’s not sharp, barely in focus (Sam and the sign next to her), but there’s some tension and movement. At the time I was becoming even more obsessed with Street Photography, six months earlier I’d swapped from Canon to Leica. I know what you’re thinking…Should have kept the Canon John, at least it would have been '“tack sharp”. Yes, it probably would have been, but that’s not the point. I wan’t to see portraits sharp and focussed, so do my clients. For Street isn’t so vital, If anything those imperfections add to the attraction. Too much in the next one?
Alright, that shot may be pushing it for some. There’s a hustle and bustle in the NYC Subway, why not reflect it? Inject a bit of realism, imperfection. Street Photography is, or should be, candid images of everyday of life. Here’s a quote from “Bystander" - A history of Street Photography” by Colin Westerbeck and Joel Meyerowitz. It concerns the age of post production:
“We’re in a period where carefully crafted fiction is prized more highly than poetic inspiration. A time when street photographs can be refined or even staged from scratch to appeal to a taste of cinematic sensationalism rather than instinctive discovery “
Maybe, and this is just a thought, I’m using this as an excuse to justify what otherwise are some crappy photos.
I found those in the archive from New York, not shown before. They’re not perfect, not how I wanted them, but they’ve grown on me. It’s interesting how our views and opinions evolve, especially so with photography. For example: I had always chosen the photo on the left below as ‘the one’ of my wife on this particular trip to NYC (she’s already appeared twice so far in this blog!). Next to it on the right is one I dismissed at the time. Too many people in the background perhaps, too much negative space above, who knows. Imperfect, but for me it’s way closer to perfection. I could crop it down, I doubt I ever will. Anyway, now it’s my first choice because it appeals more to the Street Photographer in me. The first one is posed, the second one isn’t, it’s more Sam waiting for me to get on with it:
Returning to the book “Bystander” the point is well made about the change from Romanticism to Realism in photography because in the beginning it merely copied traditional art. What the early photographers couldn’t achieve were candid photos, the ability to obtain exposures that weren’t fast enough to freeze a small moment in time. Everything had to be posed and if you’re staging something then it may as well be romanticised. A little series from before the children went back to school where we can freeze a fraction of a second. Louis and his mates messing around on the swings, not posed. I could watch them all day, a group of lads, being just lads. His absolute best friend in the world is on the next swing. They’re blissfully happy…remember that feeling?
There doesn’t have to be romanticism to conjure up an emotion, realism does it just as well and it doesn’t have to be perfect. Good photographs rarely are perfect and I’ve come to the realisation that there’s no point in striving for that. Never being quite happy with the results equate to never being quite happy full stop.
Street Photography, for now at least, is dead. We’re in the midst of a second wave of covid in the U.K.. Or is it still the first wave? Anyway, in England Lockdown Lite has taken effect. Frustrating, but it’s been decided that it is the best course to take in the current choppy waters. Here’s a grabbed shot of a passerby as I walked my dogs the other day.
One of Louis’s teachers had a positive Covid test and so he has to self isolate for 14 days. Amélie can still go to school which she is delighted with, but I’m confused. Surely if she shares a household with Louis she should be here too. The rules are tricky to follow. As a comedian pointed out the other day on the radio as I was driving along…it made me laugh:
“It’s really simple to understand. We’re now treating the days of the week as odds and evens. Obviously Wednesdays will be 15, whilst Tusedays will now be known as 8. It doesn’t take a genius to realise that Thursday’s new number will be the square root of Saturday and Sunday added together. I must add, and this almost goes without saying, that we’re not allowed to stand within twenty metres of a windmill on the third Monday of the month”.
What was I saying? Oh yes. Something about not possible to be perfect, the COVID rules aren’t that’s for sure and of course photography isn’t either. We are in position where we don’t need to pose or stage photos now that we have access to super fast shutter speeds. I’m not sure why “Street Photographers” feel the need to stage shots or spend hours tinkering with the editing until we’ve completely left the real world.
I’ve decided that my photography falls somewhere between realism and romanticism. On Sunday morning, before we had news of Louis’ need to self isolate we went for a walk at nearby Lacock Abbey. Home of Henry Fox Talbot in 19th century, a photography pioneer who invented salted paper and the calotype process. Essentially negatives and the ability to print them. So I thought it apt that I’d capture some images that he would clearly have struggled with and a few he’d have had no problem at all with.
Just as a point of interest and before we wrap this up. I believe that in the tower behind Louis the oldest existing photograph was taken. It was an image of the window looking out and the exposure would have lasted hours. His early experiment in 1835 using light and chemicals, the image was reversed, a negative was made. It wasn’t perfect, but of course in the great scheme of things it absolutely was.
Some there with movement and just like Mr Fox Talbot I can never resist messing around with Light…Louis would be the Chemicals kind of guy, if he was allowed anywhere near them!
As always my sincere thanks go to anyone taking the time to read this blog.
All images can be opened by clicking on the thumbnails and are taken using a Leica M with Summicron 28mm Lens.
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