“Street Scene, Calle el Temple” — Blocked-off ground-level units and weathered walls at Calle el Temple, Zaragoza.
I am always a bit of a sucker for old buildings that show the effects of time, especially if they are on narrow, car-free European streets, and perhaps more so when they are a bit messy around the edges. This building puzzled me. The ground floor seemed abandoned, with doorways sealed of its bricks. But the second story and above seemed well-maintained.
We stayed in the old part of Zaragoza, Spain. This location is mere footsteps from our hotel, and we walked past it a number of times. ON this morning we were just starting a walk that would take us the Central Market, then to some historical buildings, followed by a walk along the river back to the center of this part of town.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” from Heyday Books, is available directly from G Dan Mitchell.
A San Francisco doorway with an interior stairway, night
For me street photography is not just about people — though I photograph that subject, too. It is also about what I might call “street landscape,” and I’m as intrigued by this landscape as I am by any other. Even when my subjects are the people in the urban world, I’m virtually always considering them at least partly in the context of where they are. I’m no less away of this landscape background in the urban world than I am when photographing birds in flight against the background of their landscape. And sometimes here, as in the natural world, I like to photograph that landscape without its “wildlife.”
The urban world especially fascinates me at night, and simple things can take on a new appearance. This was almost a “grab shot” as I walked back toward my car from where I had spent an hour photographing with friends along the San Francisco waterfront. If such things appeal to you, there might be a lot to find and consider in this image. Or not. You decide.
A can is stuck in the grate covering an alley window on a badly weathered and stained wall, Fremont District, Seattle, Washington.
This is also a photograph in the series I made during the hour that I had to shoot along with the Seattle Photowalk folks in early May, when they met up to photograph in the Fremont district of Seattle. I took a one-hour hour “mini-vacation” from the other business that had brought me to Seattle, grabbed a camera, and wandered about making photographs for sixty minutes.
Aside from some technical stuff (e.g. shooting handheld rather than with a tripod, perhaps shooting with just a prime or two rather than zooms, etc.), the secret is that I approach street photography in ways that are not all that different from how I approach nature or landscape photography. In both cases, I may photograph both the larger scene and smaller subjects contained within it. In both cases, I tend to “prowl” for images, even though I do begin with certain ideas of what I might look for and what I might find. Also in both, I think I begin by trying to find things that interest me first, and only then thinking about how to make photographs of them. Here I had seen a skinny little side alley. At first I didn’t see anything in it that was an obvious photographic subject, but for some reason I still wandered into in and just looked about. The first thing that I “saw” was the old wall with its odd patterns, perhaps the result of rain or of previous poorly-done paint jobs. The texture intrigued me, but I wasn’t seeing a photograph of that alone, so I kept looking. It didn’t take long to notice some things placed on or within the wall – some pipes (that’s another photograph) and this odd window, blocked with what looks like a piece of wood and with an old can jammed into the security grill. I made a few photographs and moved on.
G Dan Mitchell is a California photographer whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
So, let’s say you happen to be spending some time in a popular place doing photography and other things. In the course of your day you wander down to a spot that is very popular with tourists, and you discover an interesting and impressive-looking gallery of photographs. You go inside and read about the photographer – a self-described “purist” who says the photographs show the scenes as they were at the time of the exposures and don’t use fancy and artificial post-processing.
But all but a few of the photographs look like the saturation slider in Photoshop was pushed up to about 100. (OK, I exaggerate… a bit! :-) Highlights in clouds and such are blown out. Shadows are blocked. And colors are pushed in odd and impossible directions.
You understand why such an approach is appealing to folks unfamiliar with fine photographic work, especially when the presentation and pricing of the prints screams “This is Great Photography!” But you’ve seen really, really fine photographs that did not depend on heavy-handed post-processing. In fact, among the photographs in this collection you see a few that take the high road and don’t go over the top, and which remind you of some of those other fine and subtle and sophisticated prints – and which even inspire you a bit.
The artist’s statement keeps coming back to you – the business about being a “purist” and about not post-processing and about presenting in the photographs an unadulterated and real vision of the original subjects.
What do you do? Do you get mad? Do you laugh? Do you try not to think about it? Something else?
Just wondering…
BTW: A few things for the record:
I am not criticizing any specific photographer, but rather thinking about an issue that we might all have to deal with.
You do not know what photographer (or “popular place!”) I might be writing about – and since the specifics don’t matter I won’t confirm or deny anyone’s guesses.
Consider the possibility that I might have just made up the whole story as a literary device for this post… :-)
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” (Heyday Books) is available directly from him.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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