By MICHAEL PERKINS
STREET PHOTOGRAPHY IS OCCASIONALLY DISPARAGED as some kind of intrusion, the visual equivalent of picking someone’s pocket or peeping through their bedroom window. And while some shooters certainly invade, even steal, privacy from people, there are many more gentler practitioners, artists compelled by curiosity rather than predation. I think the difference between these two approaches shows in the work. At least I hope it does.
The photographic street scene is greatly altered in this Year Of The Great Hibernation. Making pictures of people is severely hampered when there are, literally, fewer full faces in view. Our choice to purposely avoid personal contact cuts that crop down yet again. And without faces, the street is only, well, the street. Faces provide photographers with that divine mix of solved and unsolved mystery. It is, after all, our inability to absolutely plumb the inner thoughts of others with our puny cameras that make our little acts of emotional eavesdropping so addictive.
In recent months, I have been giving myself a refresher course on what it is about street work that “works” for me. I keep coming back to images very similar to the one you see here, the instinctual capture of a moment on a pier in Ventura, California some three years ago. Something about the exchange between the woman and the two males continues to fascinate me. Maybe it’s because the woman, whose face is the only one of the three in clear view, is in such a position of dominance. She clearly seems to be in charge of whether the conversation continues, and on whose terms. She looks, at once, impatient, engaged, weary, cold, contemptuous, even maternal. I can’t nail her down, and that’s intriguing. The males are almost certainly boys, or are at least servile in the way that only boys can be in the presence of an adult woman. Either way, their energy is greatly diminished in comparison to hers. The picture does, then, what street work does best…at least for me, in that it starts conversation, but cannot end it.
Of course, some street photography is not “about” anything but itself, that is, a random momentary arrangement of props and shapes. And it would be a mistake to label such images as any less or more “meaningful” just because no clear intent is implied in them. A sunset is, for some, symbolic of many things, but for others, it’s just a picture of a sunset. As to whether it’s somehow wrong to spy on the feelings or interactions of passersby with the intent of trapping them inside a box, I’ll leave that to the philosophers. Me, I’m thinking about the grand parade of lives passing before me, which I regard as the grandest feast since the invention of Hot Pockets…