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The street photographer who showed no pictures

Vivian Maier - Outstanding street photographer

Vivian Maier – Outstanding street photographer 1926-2009

A new documentary reveals Vivian Maier.

A new documentary has been shown on British television. It tells the tale of Vivian Maier. A lonely nanny, she spent most of her career photographically documenting the streets of Chicago in her spare time. She was unsung as a photographer, unknown to almost everyone, unrecognised as an artist. She died as a virtual pauper in 2009.

Within a short time of her death the most astonishing hoard of photographs was revealed. Her belongings had been sold off at an auction. The chance find by a keen photographer revealed the work and fortunately made the find public. With the most detailed care and exquisite vision she pictured her subjects with both passion and journalistic fervour. She pictured some of the most painful poverty and opulent richness of Chicago in the 1960’s and 1970’s as well other places in her travels.

Now her photographs are selling for thousands of dollars a piece. This new BBC documentary showcases her insight and some of the more interesting photographs from her fascinating body of work. It also tries to get an in side look at her life – a secretive and largely unknown story which few people were involved in.

With over one hundred thousand photographs in the collection it is an incredible find. Almost a complete record of her work is available. She showed her work to very few people. Most of the shots were never printed.

The enigma that Vivian Maier represented is almost the same clichéd story of the pauper artist of previous centuries. Unrecognised until long decades after their deaths these artists often represented important interpretations of their eras. And so it has proven to be with the work of Vivian Maier.

She had little family, very few friends and only the contacts made through the jobs she held as a nanny. She was largely unschooled and a European immigrant to the USA. Yet with extraordinary wit and dedication she taught herself English apparently through going to the movies and the theatre and mixing with people. She also appears to have taught herself photography – there is no record of a photographic education.

The amazing thing about Vivian Maier was her dedication to the task. The BBC documentary chronicles her life – what’s known of it. But it also raises a lot of questions about what motivated her. Clearly she was a lonely person. Obviously she loved photography and the streets of Chicago where she spent most of her life. Beyond that we know little.

She had the most incisive skill with a camera and great insight as an observer of people. She went everywhere with her equipment, obsessively capturing everything in which she saw meaning. Her main interest was in the people she met – her qualifications for undertaking the work were non-existent. Yet over the period of fourty years she proved herself to be a great artist.

Hit rate

Many of todays digital photographers don’t realise what really lies behind a body of work. According to the academics examining Maier’s work she had an excellent hit rate. One very famous photographer once said…

Twelve significant photographs in any one year is a good crop.

Ansel Adams

…yet Vivian Maier apparently managed many, many thousands of high quality pictures on her large format Rolliflex  External link - opens new tab/page camera.

There is something interesting about Maiers hit rate, dedication to photography and the detail of her work. It says a lot about her as an artist. Artists spend years learning, experimenting and often apprenticed to other artists before their work begins to mature. But their dedication is by necessity, absolute. And, their progress and interests can be charted by the type of work they produce and how it varies and changes focus during their careers.

The character of an amateur body of work

Amateurs by contrast to professional artists have much more spotty bodies of work. They do not have time to dedicate to devoted study and development. Years of experimentation and concentration on particular aspects of their work is not possible. Family life, work, the simple needs of normal life reduce the amount of work a typical amateur can put into developing as an artist. Typically amateurs tend to be more erratic in their interests, or they concentrate most of their work on one focal interest.

Vivian Maier apparently dedicated pretty much all her personal time and a good proportion of her work time as a nanny to her photography. As a result her achievement is similar to a professional artist. Her work is of a similar standard too. Her work appears to exhibit a gradual and focused experimentation and development much like a professional artist.

Dedication and concentration

A large proportion of Vivian Maiers work is still unprinted. Most of it is still unseen by the public at large. We clearly have a lot more to see and to learn about her. Most of her life is a mystery, much of her story untold.

One thing is clear. For someone who was clearly a very talented street photographer she had a lot to teach photography learners about concentrated dedication to the things that interest us. If we really want to get to the bottom of what interests us as artists, we photographers need to be pretty single minded.

Have fun with your photography, but remember, the way to reveal real truths, like street photography, requires some pretty deep interpretation.

How to see the documentary

For those of you who have access to the BBC iPlayer you can still see the full Vivian Maier documentary for the next few weeks from the Home page for the “imagine” series of arts documentaries  External link - opens new tab/page (posted 05/07/2013).
Update: This documentary has now been taken down from the BBC site. However the link above now goes to the “Imagine” series website so you can see what is coming up and some past episodes are sometimes available on BBC iPlayer.

Other useful Vivian Maier resources

Here is a link to the BBC website where there are two clips about this documentary…
Vivian Maier: Who Took Nanny’s Pictures? Clips and other information.  External link - opens new tab/page

Want more on Vivian Maiers work on video? Here’s a Google search for YouTube videos about her…
Search YouTube for Vivian Maier Videos  External link - opens new tab/page

Vivian Maier on Wikipedia  External link - opens new tab/page
Vivian Maier – Her Discovered Work  External link - opens new tab/page

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Do you understand the play of light on faces?

Video

Video

Understanding light involves seeing it on your subject…

That understanding comes from seeing light in different environments. Next time you are outside look at the light and shadow on the faces of people around you. Look for light/shadow relationships and look out for light playing on the face – how it moves around as the face moves in the light.

The play of light on faces is interesting, but often ugly

When you study faces and light together you will see that there are some pretty ugly shapes and shadows created by light on the face. We are programmed to follow edges, lines and contrasts with our eyes. Oddly, we see these on faces all the time but tend to ignore them.

Normally we ignore the ugliness of bad light because we have no control over light on other peoples faces. And, our familiarity with the face turns off our attention to light. It allows us to forget that faces can be pretty ugly in bad light or a bad position relative to the light.

Somehow, when we translate a scene to a 2 dimensional picture, these shapes, contrasts and lines created by light on the face become more obvious than in real life. They seem to take on an ugliness that we normally do not see.

‘Picture-awareness’, what we see on pictures but not in real life, happens in a lot of things. With faces it is pretty important. For photographers doing portraits it can make or break a picture. Becoming familiar with the concept is important if you want your portraits to succeed.

How to use natural light and fill flash Portrait tutorial

In the video Tony Northrup shows how light and shadow can be changed to your advantage easily and simply.

Tony Northrup  External link - opens new tab/page

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Seven easy tips to improve your group photography

• Boys Group •

• Boys Group •
The humble group photograph can be much improved by a few simple steps.

Simple steps lead to great shots…

With groups you must go a little further than with straight portraits. Getting people coordinated, a range of different settings, beating the dreaded ‘blinks’, great sharpness… Check these out, go the extra mile.

Planning

When doing group shots a few ideas up front helps. Some simple ideas about cohesion, commonality and framing can make your shots more compelling. Clear ideas about how you want this particular group arranged will enable you to get them quickly into place. Groups, by their nature become impatient quickly. Preparation moves things along keeps people on the ball. Have your location scouted and know where you are going to place your group. Have a good, simple background ready. Make sure you have adequate light to work with. Location is everything.

Settings

Remember, groups require a wide view and you need some depth too. Set your aperture too large and you risk the back row being out of the zone of sharpness. Most groups are best photographed at f8 or even better f11. To get the sharpness work with your shutter speed up reasonably high. 1/125th minimum – better 200ths of a second. Go higher if you don’t need flash.

Bigger groups always have a certain amount of movement. Higher shutter speeds help to freeze the action. The problem is, high shutter speed and small aperture leave you needing flash or extra lighting. There is always a trade-off. To compensate you may need to raise your ISO.

Sharp shooting

Shooting at high speed will help freeze the action. It will not steady your hand. If shooting a big group, especially for formal shots, it’s best to use other sharpening techniques. Consider these sharpness…

  • Using a tripod
  • Use mirror lock-up function
  • Image stabilisation off (not needed on tripods – it creates vibration)
  • Auto-focus off on a tripod after the group is focused (it creates vibration)
  • Operate with a remote shutter button or use the on-camera timer

A tripod saves time. You can arrange the group and smooth the shot through. If you have more than one group, your camera is always set up when it is on a tripod. It helps smooth the flow.

Light and shade

Overall light in the scene is important, so is the shade. When taking pictures of groups you are taking a wide angle view. The group is often spread out. It’s easy to miss that one or two of the group are in the shade. Or, with a camera mounted flash, the shadows from the flash fall harshly onto the people behind. Trees, buildings, other people, towers, street lights – any number of objects can cast unexpected shadows which are difficult to notice. Flash casts shadows you don’t see until you open the picture on a computer later. Look carefully at your group. Arrange them to be in clear, consistent light. Make sure any lights or flash you are using treats all the members of the group evenly and fairly.

Clothing

So often with groups you have no control over clothing. If the event is formal the clothes often have a stiff and upright feel. People don’t relax so well in this situation so you will have to set the scene and pose them accordingly. It is not easy, especially with family conventions or a preset plan. Where possible let them arrange themselves with your help. People will be most comfortable next to the people they like and know.

When a group is coming together informally the clothes may be wildly variable in character. What matters when working with a candid group is the fun arrangement of the group. Try to get the group to look dynamic and together. This will offset a strong clothing variation.

The prize giving

• The prize giving •
If the group feels comfortable and you work with them they’ll help make a great picture.

Organisation

Groups, especially close up, look odd if the faces are at different distances from the camera. They are close enough to us to look fine. However, the lens plays tricks on our eyes. If they are out of line – at different distances, but close together – they will appear to have different head sizes. Try to make people in each line of a group stand evenly down the line.

Sometimes the classic, short in front taller to the back works fine. Other times it is better to actually mix up short and tall – especially with different generations. It is much more natural for grandchildren to be arranged with grandparents than stuck on the end of the line because they are small. Putting children between adults also provides an opportunity to have a shorter person behind so as to break up a line up – to make it less formally arranged.

Close family groups, and friends, often look good leaning together, or heads together. It is very intimate to touch heads.

The dreaded ‘blinkies’ strike every group shot if you are not careful. The bigger the group the more likely that someone will blink. Overcome it with a little group control. Ready to shoot? Tell them you are going to help stop them blinking in the shot. Tell every one to shut their eyes. Count to two, tell everyone to open. Count to two. Press the shutter. Everyone will have open eyes. Explain it first so they know what is coming. It will make sure they all have eyes open long enough for you to get the shot.

So, with all these different ways of organising the group make sure that what you have is comfortable, natural – never forced.

Posing

Organising the group is about positioning and location. Posing is about personal stance and comfort. You, as the photographer, need to direct the group. But on the other hand you have to work with the people you have before you. Try to make it fun. Get them to relate to one another. If you have time, especially with candids or informal group, get them to experiment. Handshakes, greetings, hugs, arms around each other, standing in groups – the idea is to make ‘that’ group look good. Another group might not look good with the same poses. You should work with them, discuss ideas with them, respect their thoughts. They probably know each other better than you know them and will make the best suggestions. It is your job as a director to pick up on the most effective shots from their ideas. Consider what you know about them, consider their ideas for their poses – then work together to make the shot just right.

Getting the right feeling…

Working with groups is more than just lining them up. You have to consider the time, place, light, shade, the settings and the technique. But the best shots still come from the group itself. If the members of the group are comfortable, having fun and feel natural about their poses they will make sure you get a good shot. Work with them, help them make your picture work.

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

How to use negative space effectively

• Boats •

• Boats •
Picture by Mike Browne (from the video)

Composition that is not there!

The space that surrounds the subject and fills the gaps between important objects in your picture can be described as negative space. In some ways it defines the objects you see. In another way it is not really there. Instead the background is what you see.

The concept of negative space is important. The shape of your subject is created, at least in part, by the space around it. The space helps to define its character too. How much space surrounds your subject, and the type of space, all pass messages to the viewer about your shot.

Negative Space in Photography

Negative space is a strong artistic element yet it is not always obvious how to use it in your photography. Seeing negative space, and using it, takes a little practice and some ideas on how to place the elements in the shot. In the video Mike Brown shows us, despite the annoying balloon, how to use negative space and how to place your subject. He shows us how to use the balloon too – eventually.

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

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The top twenty phototips that you should know

20 spots - twenty tips

• 20 spots – twenty tips •
Click image to view large

Learning photography is about…

Doing the simple things really well. Although there are a lot of things to learn, the important ones are a few things you do over and over again. If you improve them you will automatically improve your photography.

Work on these to make the biggest improvement
  1. A proper stance will provide a proper, steady hand-held camera position.
  2. Go everywhere with your camera. Use it every day – improve every day.
  3. Learn with what you’ve got, better equipment will not improve your skill.
  4. Three essentials – camera, lens, tripod. Learn to use them all equally well.
  5. Get close, fill the frame, your shots will probably be better.
  6. Think about every shot before you push the shutter button.
  7. Count to two before taking your camera away from your face.
  8. Never just look at others’ photos – do a critique every time.
  9. Work on your composition skills at least as hard as your technical skills.
  10. Be inspired by other photographers, but develop your own style.
  11. Discuss photography as much as possible with other photographers.
  12. Look for contrasts in colour, light, shape and other variables.
  13. Declutter your shots, show it as simply as possible.
  14. Use natural light as much as possible – get to know its properties.
  15. The rule of thirds works more than 95% of the time.
  16. Try different perspectives, points of view and heights at each scene.
  17. Vary shutter speeds, ISO and aperture settings to experiment with exposure.
  18. Make people, and especially faces, a central study in your photography.
  19. Great photos can be found everywhere – you just need to look out for them.
  20. Be completely obsessed with the study of light and the language of light.

If you pay attention to these important tips you will find your photography will develop.

Photography becomes a way of life, but don’t make it the only thing in your life. You need other interests to bring new perspectives into your photography.

Most of all enjoy what you are doing. Photography should be fun… don’t take it too seriously. Laugh a lot.

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

How to tackle the problem of reflections and highlights with glass

• Photographing anything translucent requires treatment that defines the shape •

• Photographing anything translucent requires treatment that defines the shape •
Photograph by Phillip McCordall

Make the best of your resources.

Making the best of your resources is important. Expensive equipment is out of reach for many photographers. Using simple equipment and home resources helps. Glass presents particular problems. This tutorial will help you to tackle the problem with glass and learn more about using simple resources.

The problem with glass

By its nature, the translucence and reflectance of glass creates special problems for photographers. Translucence means that the definition of glass is lost against the background. Reflectance means that general highlights and specular highlights in particular can cause problems. Success in photographing glass is about learning to control those things. It is all a matter of using reflectance to define the glass and placing the light in the correct way for it to illuminate.

Using a simple house light and white and black cards, this tutorial helps you to control highlights to emphasise the glass and not create nasty highlights. You learn about good quality composition with a glass and a few tricks of the trade. Win:win I think.

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

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Do you really understand what photography is?

A photography definition? The ramblings of a madman…

A photography definition is not easy. What we do with a camera is record part of the world where we point the lens. Right? Then again, you probably realise that is not true. Especially if you have been reading this blog for a while.

The lens does not faithfully record the world. The picture is always slightly distorted. Numerous technical processes are involved in the translation of a scene into a picture. These each add their own distortions and variations on the original scene. The unique approach taken by the photographer in framing the shot creates its own view of the world too. That view will be different to the next man. The perceptive filter of the viewer also affects what is seen. What is finally conjured up is an image beyond the mere recording.

So, what on earth is this thing we call photography? It certainly is not a mere technical record. Nor is it a simple interpretation of a scene. Those two roots are important. They are not the full story for a real photography definition.

Toward a good photography definition

I noticed I had not written a definition of photography in the “Photographic Glossary“. The latter is a collection of articles which has gradually grown with this blog. It’s now a good intro and background to a wide range of words, phrases, concepts and items of equipment. It is still growing. It’s on the menu at the top of every page. Or you can click this image and go there now…
Photography definition :: Link to the general Glossary

I wrote a definition of photography. In it I followed the conventions of most dictionaries. But there is more to a photography definition than technical sufficiency.

Meaning?

While researching a definition for “photography” I came across a whole range of explanations. They amounted to descriptive statements about:

  • derivation of the words related to photography;
  • the photographic act;
  • processes involved in doing photography;
  • post production processing of the image;
  • The history of the subject
  • the technical issues;
  • prediction about the future.

This is all interesting stuff. However, I found it sterile.

It is important for ‘meaning’ to be attached to feeling. A technical description of the process of photography (film or digital) is interesting but devoid of personal meaning. I am a committed photographer. I love to do photography and I invest a huge part of my life in its pursuit. To me it is not a technical process, although I go through a technical process to “do photography”. It is not just the statement about the meaning of a word (see – Definition: photography). Neither is it simply a picture. I am hoping that my picture will stimulate a living, three dimensional image in the mind of my viewers. If that happens then I will have created powerful image for them. That will be a successful image.

Photography is an attempt by the photographer to communicate with the viewer. Each picture may lie somewhere on the continuum between a “record” of the world and an “interpretation” of the world. No matter which end of that continuum the picture lies, it speaks to the viewer in a unique way.

My thinking…

I spent several hours trying to bring life to a photography definition. Through the technical mambo-jumbo, physical processes, history and so on, not one article adequately described our passion. So I resorted to trying to sum up how I feel. Here is what my photography definition is about…

Photography attempts to capture a view of the world with which the photographer communicates their particular meaning and perspective of a scene through a picture and, which if successful, will create a vivid, living image in the mind of the viewer.
Damon Guy, 09/06/2013 – Towards a good photography definition.

I expect to be shot down. What does “photography” mean? You tell me. Have you got a good photography definition?

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Damon Guy - Toward a photography definition.

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.