Categories
Aging Living San Francisco/California Street Photography

The Zone

I have been alive for nearly a third of the time this country has existed. It arrived the way facts do at a certain age, sideways, while I was thinking about something else, and it sat me down. Two hundred and fifty years, and my own decades take up a third of it — whether I meant to claim that much room or not.

I used to think the road was where I went to escape the smallness of a life. Now the road doesn’t call the way it once did. Some of that is willingness. More of it, if I’m honest, is a body that’s less steady, a bladder with a mind of its own. The body files its objections. I used to override them. I no longer do — not because I’ve grown wise, but because the overriding costs more than it used to and buys less.

But I want to tell you about what I got instead, most Fridays, for not quite a decade, because it isn’t nothing.

Doug came across on the ferry from Larkspur, and I’d meet him at the Ferry Building — watching the boat come in, watching him pick his way down the gangway with his camera bag, before either of us had said a word or made a single decision about where to walk. Then we’d head out along the Embarcadero, sometimes up into the financial district, and for the first ten minutes my mind would do what minds do. It would analyze. It would compose. There, the light coming off that glass tower, wait for the man in the overcoat to cross into it, no — too late, gone. Appraising and timing, the way I’d once weighed a stock, or a runway, or a route.

And then, without my choosing it, something released. There’s no threshold you feel yourself cross. But sometime after the tenth minute, the appraising stopped, and seeing took over. Not looking for. Not looking at. The street would stop being a set of problems to solve and become only itself: a longshoreman on a break outside a pier, a gull working the same patch of pavement three times, fog sliding under the Bay Bridge like it had somewhere to be. Doug, a few yards off, would go quiet the same way, and we’d shoot for an hour or two and then find each other again at the end of the block.

By then we’d have worked up an appetite for something other than pictures. Tadich Grill, if we could get in — the linen and the old wood and the waiters who’d been there longer than some of our careers. We’d order something plain and good, and that’s when the talking would start. Not small talk. The real kind. Work, kids, the state of things, whatever had lodged itself in each of us that week. The seeing on the street and the talking over lunch were not two different activities. They were the same hour, extended. One was attention paid to the world. The other was attention paid to each other.

I have flown airplanes and driven through weather I shouldn’t have, and I loved both for the demand they made on me — the total, narrowing attention that leaves no room for the self that worries. What I didn’t understand then was that a boat crossing from Larkspur, and a Friday, and an old friend across a table at Tadich, could ask the same thing of me, for free, without a single mile of my own driving.

Covid stopped it. Not gradually — the way most rituals fade, through scheduling and distance and the slow drift of people’s lives — but all at once, the way everything stopped that spring. The ferry didn’t run. The restaurants closed. We never quite picked it back up, not the way it was. I don’t think either of us decided to let it go. It just didn’t survive being interrupted.

A third of the country’s whole life, and it took me most of my own to learn what those Fridays were teaching me — and then to lose them before I’d finished learning it. I still see the ferry pulling in. I still see Doug on the gangway with his camera bag, in no hurry, already half in the zone before his feet touch the dock.

Categories
Cuba Photography Street Photography

Havana, In Deep

There is a box between them with a screen in it, and to this day I do not know what it is for. It could be for sifting. It could be for rolling. It sat on the table in that Havana market like a piece of furniture too tired to explain itself, and the man rested his forearm on it the way men rest their forearms on things that have been useful to them for a long time, without needing to look at it. A couple of guys a few steps off were selling meat, and somewhere a radio was losing a slow fight with distance.

He was asking her something. You could see it before you could hear it, if you could have heard it at all, which I could not, standing twenty feet away with a camera and no Spanish worth the name. His eyebrows were doing the work. His mouth was doing the work. The cigarette in the corner of his lips had gone unlit and forgotten, a prop in a scene that had moved past needing it.

She had not expected the question. That was the whole of it, the thing the photograph is actually about. Above and behind them the light came down through warehouse glass gone frosted with age, softened, the hard edges sanded off. It had been falling on that table for years before either of them sat down at it. A woman’s face has a setting it returns to between thoughts, and hers had been somewhere else — the work, the heat, the cigarette she’d just lit, which she now held between two fingers like a held breath, smoke rising into that same light, catching it, going from invisible to visible to invisible again. Then he spoke, and the setting changed. Her eyes came around to him sideways, the way eyes do when the rest of the head hasn’t decided yet whether to follow. Caught. Not afraid — caught, the way you’re caught remembering something mid-sentence, or caught by a question that arrives at an angle you didn’t see coming.

They had stepped away from whatever the work was — the particular slackness of people on a break, elbows down, shoulders forward, the posture of two people who have stopped doing the thing they get paid to do and have not yet decided to start talking about anything in particular, except that he just had.

Neither of them knew I was there, and I have never quite settled how I feel about that. I took something from two people who never agreed to give it. I have made my peace with it the way photographers do, which is imperfectly, but I have not stopped thinking about it. This is the only kind of photograph worth making all the same, the kind where you are not in the room, not really, where the camera has gone as invisible as the screen on that box, recording a question and an answer that the two of them will forget by the end of the day and that I will keep for the rest of my life, lit by a window neither of them ever turned around to notice.

What they were talking about, I will never know. I have looked at this photograph for thirteen years now and I still want to know.

Categories
Aging Living Paris Serendipity Street Photography

The Geometry of Choices: Life Beyond the Viewfinder

Every day, I walk past Henri Cartier-Bresson’s The Decisive Moment resting quietly on my bookshelf. Its spine is a familiar friend, a silent anchor in the room.

For Cartier-Bresson, the decisive moment was a photographic philosophy: the simultaneous recognition of the significance of an event, paired with the precise organization of forms that gives that event its proper expression. It is the fraction of a second where the head, the eye, and the heart perfectly align.

“To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression.” — Henri Cartier-Bresson

But as I caught sight of the book this morning, I realized how deeply this concept bleeds beyond the edges of a viewfinder. We tend to measure our lives in chapters and milestones—graduations, marriages, career shifts, relocations. We look at these grand events as the towering pillars of our personal history. Yet, if we look closer, the actual architecture of our lives is built on a series of fleeting, decisive moments.

Think about it. The true turning points rarely announce themselves with a booming voice or a dramatic swell of music. They are profoundly quiet.

It’s the split-second decision to take a different route home where you stumble upon a neighborhood you’ll eventually live in. It’s the pause before answering a question that completely changes the dynamic of a relationship. It’s the instant you decide to say “yes” to an unexpected invitation, opening a door to a career you hadn’t even imagined.

In these moments, just as in photography, there is a sudden geometry to our choices. The elements of our past experiences, our current desires, and our future trajectories suddenly arrange themselves into a perfect composition. We may not hear the click of a shutter, but the picture of our life is forever altered.

I run my finger over the dust jacket sometimes and think about the paths I didn’t take. The moments I hesitated just a second too long, and the composition dissolved into chaos. There is grace in those missed moments too, of course—they teach us how to hold our gaze steady for the next time.

The tragedy is that we often miss these fractions of a second entirely. We move too fast. We are too distracted by the noise of the future or the echoes of the past to recognize the composition forming right in front of us. We forget to keep our eyes open.

Cartier-Bresson roamed the streets of Paris with his Leica, intensely present, waiting for life to unfold. How often do we roam the streets of our own lives with that same level of presence?

To capture the decisive moments of our lives, we don’t need a camera. We need awareness. We need to cultivate a stillness that allows us to recognize when the head, the eye, and the heart are asking us to act.

It’s about trusting our intuition when the geometry feels right, even if we don’t fully understand the picture yet.

The next time you find yourself hesitating—caught in a quiet fraction of a second—pay attention. It might not be a milestone. It might just be an ordinary Tuesday. But it might also be the exact moment the elements of your life perfectly align.

Click.

Categories
iPhone Photography Street Photography

Capturing the Art in Everyday Scenes

Street photography captures candid, unposed shots of people in public places. Unlike posed portraiture, street photography relies on spontaneity, serendipity, and impulse. The street photographer must have a quick eye to capture fleeting moments. As such, street photography is fundamentally an art of observation.

Henri Cartier-Bresson is often considered the father of modern street photography. His concept of the “decisive moment” emphasizes the photographer capturing the perfect instant within a scene. Famous examples like Behind the Gare St. Lazare show his knack for capturing those transient moments brimming with visual energy. His street photographs play with geometry, reflection, and movement in a lyrical way.

Helen Levitt was a pioneer of street photography in New York starting in the 1930s. She captured the daily life, humor, and grit of the city’s neighborhoods. Levitt often photographed children at play. Her work poetically captures the transitory joys within urban life. She had a gift for uncovering whimsy amid the mundane.

In the 1960s, Robert Frank’s seminal book The Americans cemented street photography as an art form. His work stripped away romantic notions of America through raw, gritty, ironic photographs of real life. Frank traveled across the country and captured strangers, cities, cars, and open roads with an unwavering eye. His photographs reveal underlying emotions through powerful composition.

The work of these photographers matters because they transformed street photography into an artistic medium of observation, social commentary, and subjective expression. Their ability to capture visually arresting moments imparting deeper meaning put street photography on the artistic map.

Importantly, street photography is fundamentally about the eye of the photographer, not the camera itself. Many iconic street photographs were shot on nothing more than compact cameras or even modern smartphone cameras. The key is the photographer’s ability to see and capture meaningful moments in public settings. A great street photograph has more to do with vision and timing than expensive equipment.

Several years ago, I’d go out on the streets of San Francisco with a camera bag filled with a fewo Fujifilm cameras. I enjoyed shooting with those cameras – but, frankly, the gear became a hassle – one more thing to worry about. Increasingly, I found myself just pulling my iPhone out of my shirt pocket and capturing the moment with my iPhone camera. Perfectly adequate for almost any kind of street photography. In fact, shooting bursts is so easy with an iPhone that I might do that and then select one image out of many that I shot in a second or two of shutter time.

One other advantage of street photography compared to, let’s just say, landscape photography, is that you’re usually just steps away from a spot where you can take a break, sit down, have a cup of coffee or lunch, etc. before getting back out on the streets. It’s a much better pursuit for older folks like me, rather than hiking the hills out in some national park somewhere to capture one of the iconic vistas! I’ve attended many photo workshops over the years, and I’ve come to smile at how there’d often be a line of us workshop participants with our cameras on our tripods, shooting essentially the same scene! So, so different from street photography. Both certainly have their place, but I’ve outgrown my early interest in landscape photography and now enjoy street photography much more—at least when we’re not in a pandemic and people are actually out on the streets!

Categories
iPhone 13 Pro Max Photography San Francisco/California Street Photography

Back to The City

For many years, I met my good friend and photo buddy Doug Kaye almost every week on Fridays in San Francisco. We’d meet at the Ferry Building and head out walking from there – exploring the streets of San Francisco in a most leisurely way. Taking our time when we saw something that captured our interest, a scene that seemed particularly interesting.

As our tastes evolved, we became increasingly drawn to finding places with the best light, the most interesting light. Chasing the best, most interesting light and then slowing down to capture slices of time – as people would pass through while we watched and waited.

After a couple of hours walking the streets, we’d find one of our favorite places for lunch, kick back a bit and take a breather, perhaps do a quick review of the images we’d captured, and enjoy each other’s company over a shared table.

Then Covid hit… and everything changed. Those walks on the streets of San Francisco just stopped. Our photography interests changed during Covid – they had to change! The circumstances forced our hands – we had to abandon our love of street photography. We no longer had our favorites streets to walk. The people were gone. You know the feeling…

Last week we reinvigorated some of those old memories – meeting up in San Francisco again after over two years of being absent. We traveled light – no heavy camera gear – and we did do a lot of street walking. We stayed along The Embarcadero, shared lunch outdoors at Waterbar and went to see the new exhibition that’s just opened at Pier 24. We had a great time – it brought back memories of those years we’d walked the streets.

Doug summed our time up nicely:

Yeah, it was a great day. Good weather, good food, good friends. Hard to beat.

Here are a few images from our time in San Francisco – all taken with my iPhone 13 Pro Max.

Categories
Black and White iPhone Xs Max Paris Photography Photography - Black & White Photography - Sony RX100M6 Street Photography

Paris Streets

During a brief layover in Paris recently I hit the streets with my iPhone and a Sony RX100M6 to see what I might see. Here are a few from a couple of hours on the street.

Capturing the Pantheon
Glance
I See
Two Pairs
The Couple
Intense Conversation
Rider
Making a Selfie
Categories
Blogs/Weblogs Inspiration Photographers Photography Street Photography

On Not Being Eric Kim

Admiration. That’s what I have for street photographer, blogger, and vlogger Eric Kim. I started following Eric’s blog several years ago as he began actively writing about the joys he found in street photography. His blogging efforts led him to pursue teaching street photography classes in various cities around the world and, more recently with his partner Cindy, an active publishing (both open source and for sale) and photo gear related business (see his product page).

Eric’s blogging has evolved beyond the mechanics of street photography into his philosophy of life – his joys, his worries, and his endless pursuit of creativity. I enjoy reading him for his quick comments and insights – almost always stimulating my thoughts off in an unexpected direction. Reading his work and watching his talks open my mind in new ways.

Recently, Eric gave a talk at Google which is available for watching on YouTube. One of the best parts of his talk – much of which is focused on his approaches to creativity – starts at about 19:30 into the video. He shares one of the photos of an older woman with a big smile that he captured years ago on the streets of New York City. His description of that image, how he shot and and his interaction with the audience about the photo is just great. (He sells a signed limited edition of this print on his website.) He’s written about this on his blog as well.

As for me, Eric’s had an impact recently – he’s helped jumpstart me back into more actively writing for my blog. Watching his work, I’ve come to realize that sharing is both worthwhile and also easy to do with today’s blogging tools. I’m able to quickly have an idea and – on any of my computers or mobile devices – being drafting a blog post on that idea.

This post is a great example. While waiting for my coffee to brew this morning, I was thinking about Eric and that segment where he shares the store of the smiling older woman. That got me thinking about how I admire what he does – and what he’s been doing for years now. And so here we are. Thanks Eric!

Categories
Photography Stanford Street Photography

Magic at Stanford

I took advantage of yesterday’s Presidents’ Day parking enforcement holiday to take a walk around the campus. As I was coming into the Quad, I happened across what appeared to be a model shoot underway – with a lady in a red dress standing in the sunlight under columns.

I captured the image with my iPhone Xs Max and edited it on my iPhone using Adobe’s Photoshop Express – which includes a wonderful variety of tools to get creative with images – including adding reflections. Fun!

Categories
iPhone Xs Max San Francisco/California Street Photography

A favorite spot: San Francisco’s Ferry Building

Whenever I meet up with my photo buddy Doug Kaye for a few hours of San Francisco street photography, we almost always meet at San Francisco’s Ferry Building. I find it convenient to drive to BART and then take it to the Embarcadero station which is just across from the Ferry Building – a quick 5 minute walk and I’m there. 

This time of year, the sun angle (both low in the sky and the direction it is casting shadows) make for interesting photos outside the Ferry Building. Here are three examples – two were taken out the window on the Bay side of the building adjacent to Peet’s Coffee. The third was taken outside in front of the Ferry Building shooting directly into the sun.

There are a couple of other great photography locations here – especially the indoor marketplace area with its superb indirect overhead light – I’ll share a few examples of images taken there in a future post.

All three of these images were taken with an iPhone Xs Max and it’s superb camera! All of these images were also shared previously on my Instagram account.

Categories
Hong Kong Street Photography Travel

Street Photography in Hong Kong

IMG_8306My photo buddy Doug Kaye and I traveled to Hong Kong in April for a week of street photography. It was a perfect time of year and the right length of time to be there.

This week Doug shares some of his thoughts from our trip on The Traveling Image Makers podcast with Ugo Cei and Ralph Velasco. It’s a great listen!