INS(oev)IDE #9 - Three Stories
Three stories behind three photos from this weekend. Comments on street photography, synchronicity, and gratitude for an elder.
As I have mentioned in previous writings, my sessions in the neighborhood pre-kid used to be frequent (1-3 times per week), quick and spontaneous outings that may last 45 minutes to an hour, focused on an errand or “purpose” fueling the trip.
Now, I am doing full afternoon/evening sessions where I walk up and down the streets multiple times with the sole purpose being photos only, no distraction, but, less frequent (1-3 times per month).
While I definitely miss the ability to spontaneously walk the neighborhood, these dedicated blocks of time have definitely become more fruitful in terms of the focus I am able to have while walking and with the longer sessions, I am able to spend more time having longer conversations since I am not as rushed trying to get to my destination or errand.
This Saturday, I had multiple pleasant interactions, but the three I am highlighting here all have their own uniqueness I thought I would share.
Story 1 - I’m not a “Street Photographer”
I met this duo at the end of a long day of cruising the neighborhood. I was ready to call it quits when the red brimmed hat matching the red socks combo caught my eye as these two walked by while I was taking another photo.
I finished up and meandered their way hoping to catch up with them to ask for a photo. Luckily, they were just grabbing something from their car when I stopped to ask them for their photo.
After I took their photo we got to chatting.
They had both mentioned that they were familiar with my project and that they really appreciated me asking them to take their photo, not specifically because they wanted a photo by me, but because of a previous incident a couple days prior on the drive.
Someone had gotten into Elina’s personal space and took a photo, without permission… I won’t go into too much detail, as it is their story to tell, but they mentioned not feeling great about it after it happened, and that this version of getting a photo taken was a much more pleasant experience.
This goes back to my main guiding principle for how I approach my photos which I thought I would explain a bit further.
I’ve mentioned in previous writings that I’ve developed some “rules” for myself when outshooting. My main one, which I rarely break, is that I ask permission for each photo, especially the portraits.
I’ve always done it, and I will continue to do it, although I often get flak for it in the more “hardcore street photography” space. Whenever I have submitted my work to be considered for a street photography contest, or even on some sub-reddits, I often get the feedback that what I do is “not real street photography”.
At first this used to bug me, I’m out here, on the street, none of this is planned, and its a photograph; how is this not “street photography”. But the more I’ve learned, and the more I’ve absorbed by studying other street photographers through history, I realize that, sure, it’s not “street photography” by the current or historic definition and honestly; I’m totally fine with that.
If asking permission doesn’t make me a street photographer, then I’m not a street photographer.
Personally, I’ve always been camera shy and I empathize with people who don’t want their photo taken. I never am offended or feel defeated when someone says no to my request, likely why I am able to take the great interactions with the…not so great.
Through this empathy, I feel the need to ask permission for my street portraits. It still hasn’t gotten easier, I still get nervous with most people when I have to stop and ask them for a photo, but their permission and the subsequent interactions often make it worth it.
Otherwise, if I pursue the path of being a “street photographer” I fear I will enter into the space of a non-consensual interaction, which is not my prerogative, ever, in any context.
Now, the purists of street photography, especially those who operate in places like New York, a place in which Street Photography likely attributes both its “look” and “attitude” from, would likely argue with me, saying that there is nothing wrong with taking a photo without permission as they exist in public, and legally, you don’t have to. But I am not here for an argument, this is just how I operate. I still appreciate that style, especially the historical collections, and some contemporary ones as well, and I know many people today also begin in the non-consensual approach to get the shot, but then follow it up with asking permission, which may be a way around it as well.
At the end of the day, I can only control one person, and that is myself. And in my interactions on the street, especially with strangers, I will always ask for consent.
I really appreciated them acknowledging the fact that I had asked the people I was previously taking a photo of, and asking them as well. It reassured me that this indeed is a positive way of going about this and I thank the both of them for the feedback.
Story 2 - Synchronicity
Synchronicity (German: Synchronizität) is a concept introduced by analytical psychologist Carl Jung "to describe circumstances that appear meaningfully related yet lack a causal connection".[1] Synchronicity experiences refer to one's subjective experience whereby coincidences between events in one's mind and the outside world may be causally unrelated, yet have another unknown connection. (Wikipedia).
This story might be hard to explain, but I will do my best.
I try to make eye-contact, say hello, or at least nod to people I recognize while walking around. In a city that’s often known as a place where people mostly keep to themselves (not a bad thing, IMO), sometimes even seen as “not so friendly”, these interactions are my attempt to keep the SoEV “network” vibrant, and keep the relationships I’ve formed growing, or at least, acknowledged.
On this particular day, I caught the eye of someone I recognized. She was sitting on a patio enjoying the late afternoon sun, and I smiled and said hello. She smiled back and asked how I was doing.
From there we had a brief conversation, a casual “catch-up”, and I thought she was someone else, someone I had taken a photo of years ago…until she reminded me of her name. At this point of SoEV, I estimate I’ve taken around 8000 portraits, so I think its fair that I’ve gotten a few faces confused over the years…
“Gwen…right? You moved away from the neighborhood a little while ago?” I asked, “No, it’s Kai-lani, you’ve taken a couple photos of me, one this last summer, and one before with my big dog” she replied.
As soon as she said her name I remembered the most recent photo I had taken of her (see above) and where we were at the time, as the image came flashing back in my mind and I apologized for getting her name wrong. We chatted for another few seconds and I let her enjoy the rest of the patio sun.
I walked away slightly confused and wondering why I had gotten them mixed up, wondering why Gwen’s name popped into my head even though its been years since I’ve taken her photo.
About 15 minutes later, and a block or two away, as if my memory was manifesting the cast of people I was going to see on the street, there she was, the person I thought I had seen, Gwen.
We locked eyes and she must have seen the excitement and bewilderment in my face and she smiled and stopped to chat. I explained what had just happened, took her photo, and we both were excited by the strange occurrence, so I encouraged her to go see if she could catch Kai-Lani before she left the patio.
Turns out, they must have just missed one another, but wow, what a strange manifestation. Small neighborhood I guess.
After telling this story to a couple of friends I went looking to find a word or concept to describe this type of situation. The only one I came across was again; synchronicity.
Synchronicity experiences refer to one's subjective experience whereby coincidences between events in one's mind and the outside world may be causally unrelated, yet have another unknown connection.
Story 3 - Gratitude for an Elder
The last story is an expression of gratitude.
At a bus stop, I saw an elder was standing in her beautiful fleece jacket, adorned with beautiful jewelry, and a stoic stare to the west. I approached with caution and respect.
I say caution because whenever I take photos of elderly people, I get very nervous. The reactions are often mixed, many not understanding why I would want a photo of them, some skeptical of what I will be using the photo for, or sometimes a language barrier prevents me from articulating what I am trying to accomplish. But, I try anyways, as adding a diverse range of age groups, as well as different applications of generations of clothing, is always a goal for me. The good interactions are always very wholesome and the confidence and levity that comes out of some of the older folks is always fun to see while they pose.
I approached this particular person gently, and tried to keep my space as I noticed she was wearing a mask.
I could tell she was a bit confused initially, likely not expecting this interaction today and while she was very appreciative of me asking to take her photo, she was hesitant for me to take a proper “front facing” portrait.
I don’t like to push anyone for a photo, but I could tell she admired her jacket as she looked down at the design and she gentle touched the patches of stitched images on it, and she probably figured that’s what I was interested in as well.
She asked “why do you want my photo”, and I explained I thought that she had an amazing outfit on and I was curious about the origin of the long jacket.
She agreed to a photo, but only the back of the jacket, as she explained the design on the back was the most significant part. “It represents mother earth”, she explained, “you should photograph that”.
I quickly took a couple steps back and took a few photos. As I was looking through the view finder to frame the first few shots, I saw the shells on the back of her head.
I stood up and approached her again. “Can you tell me a bit more about the jacket, and the shells”. She started to explain who the artist was that made the jacket, and what territory it was from. I scrambled in my bag to find my pencil and paper to write it down to look it up later, but I didn’t want to seem disinterested or distracted, so I stopped and simply listened. She continued explaining its significance and who the artist was.
“As for the shells”, she explained “they protect me, my people believe in the power of gifts from earth, and these shells, they protect me.” She gently smiled and thanked me for taking her photo.
As I was about to ask another question, the shadow of the bus approached quickly, and I decided to save it for another time.
I am grateful to her for sharing her story with me, and letting me capture these images to become part of my collection. I hope I can run into her again one day soon and learn more about this jacket, I feel there was much more story to tell. If you know her, please pass on this photo and tell her I say thank you, again!
As always, thanks for reading!
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